|Starring||Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander, Jessica Barden, Olivia Williams, Jason Flemyng|
|Release||8 APR (US) 6 MAY (UK)|
Saoirse Ronan is excellent as Hanna - the accent never wavers, the puppy-dog eyes are always working overtime, the occasional smile never fails to elicit a response. She's a dynamo in her fight scenes and really manages to convey a degree of physicality (screaming like a banshee helps). Wright doesn't give her much dialogue, but what she has she makes the most of, and in several different languages too. She's a little bleedin' star of the future and no mistake.
Supporting roles are less deserving of kudos - Eric Bana as Hanna's reluctant father is a little thinly-sketched, though as always Bana remains watchable, while Cate Blanchett's government top nob is a bit too pantomime (sharp dresser, bleached teeth, Southern accent) to be anything other than a boo-hiss villain. Her true machinations are hinted at in various not-so subtle ways, but for a movie that seemingly favours personal connections over theatrical grandstanding, it seems a bit 'Scooby Doo' to have her and Hanna face off in final showdown at an unused theme park.
The special award for misjudging tone, though, goes to Tom Hollander, who plays a bizarre Teutonic hitman with the odd knack of carrying out jobs wearing extremely unsuitable attire (including a zip-up tracksuit, and at one point, tight yellow tennis shorts). When we first meet him, he's presiding over his nightclub's Christmas stage show (acted out by dwarfs, natch) and whistles its theme tune throughout the movie. In time, this sort of ham-fisted scene-stealing will become known as 'Michael Sheening it' - for now, it's just distracting.
The worst thing you could say about Hanna is that it's not really much of anything - it's lacking as an action film, hardly an Oscar-worthy drama and keeps moments of levity to a minimum. That's selling it a bit short, though - it's a bold attempt at humanising what's become a fairly clichéd genre and it has several stand-out moments. An early escape from an underground facility is a genuine pulse-racer, while a touching moment between Hanna and her first ever friend beneath a blanket is delightful: all watery-eyed close-ups, soft lighting and repressed sexuality bubbling beneath the surface. Call off the cops: everyone is of age.
Hanna won't be for everyone and it certainly doesn't plant its flag in the pop culture soil half as firmly as Kick-Ass did this time last year, but recognise it for what it is: a well-put-together, well-acted, occasionally indulgent film that's capable of kicking like a mule yet also surprising with its tenderness. And hey, if you really don't like it, consider it an ace new Chemical Brothers album with a free film attached.
|+||Point Break (12A)|
|+||Dad's Army (PG)|