Hanna
“Hanna” by Joe Wright awash in everything but the essentials: a scenario that makes sense, which requires the viewer to look at the quest of his characters. Instead, he received a big fury of noise that should leave it completely indifferent.
Hanna (Saoirse Ronan) lives with her father (Eric Bana) in a remote place on earth where the snow seemed eternal. She spends her time to train and hunt animals. One day the young girl feels ready. What? To push a button that will display the entire heavy cavalry. To learn the truth about her origins and finally be free, she must confront an evil agent (Cate Blanchett) and his henchmen who will do anything to find her father.
A movie like “Hanna” surprises. How a great director like Joe Wright, who has run before the magistrate “Atonement” and the excellent “Pride & Prejudice” and “The Soloist”, decided to embark into this mess without taking care to see if the story was correct? You feel the director trying to escape from the mold and try something new.
A bit like Neil Jordan in “In Dreams” creator pays the most basic bidding. He wanted to make a modern fairy tale and it multiplies the nods to “Alice in the Wonderland”, “Little Red Riding Hood” and “Hansel & Gretel”. Terry Gilliam had been there for “The Brothers Grimm”. Except that, these metaphors are not always justified. This is a way to fill the void, because beyond the patent, there is nothing.
The effort is one of contrasts. A slow introduction, white and virtually silent allowing time to breathe. Before the wave of violence, hemoglobin and fury. A constant play on the sound that never lets a moment alone. To this end, the Chemical Brothers music is a first step in tone, both prior to irritate it lacks the depth of a Daft Punk in “Tron: Legacy”. The whole service is set to achieve a quarter turn, sometimes a little too loud and flashy, which can still count on some impressive clips and a few exciting moments of action.
It will not be enough to not be bored long before the end of this whimsical story, these amenities scriptwriting (why the heroine is unable to aim with her arrows, so she spent her life training?) And this fixed interpretation despite the presence of very good actors. Perhaps the director should have even more to play it the way the series B (as he timidly at the segment of the escape or through a second character that mimics the Mad Hatter) instead of being taken terribly seriously. This would have avoided offering yet another “Salt” or “The Long Kiss Goodnight”, totally useless and barely entertaining.
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