Hanna is a blonde haired, blue eyed, sixteen year old girl. Slight of build, she is deceptively cunning and agile. She has spent her entire life in a remote cabin, far from civilization, learning survival techniques and training to kill with her rugged, hirsute padre in the frozen tundra somewhere above the arctic circle. What she knows of the modern world, she has learned from her father’s books. Then one day, Hanna informs him that she is ready. She confidently flips the switch on the transmitter that broadcasts their location to an unknown third party’s GPS that then picks up the signal. Shortly thereafter, a special ops unit of unknown origin shows up at the cabin in the middle of the night. Hanna is retrieved and removed to a special bunker somewhere in Morocco. Meanwhile, Eric, her father, is en route to France.
This flick moves along in typical, action-packed fashion with the kind of soundtrack that hasn’t pumped you up this thoroughly since the Rocky movies or even, Midnight Express. So much ass to kick, so little time to do it. You know that Hanna is a different sort of girl, you just have no idea why. And neither does she. But hey, wherever she goes, shit does seem to get blown up a lot, and, dead bodies tend to accumulate. There is the obligatory doctor evil –this one in female form with a really bad haircut and an even worse dye job– The audience doesn’t know why the sick bitch is after Hanna, or, for that matter, her father, but it is fun to watch.
Hollywood hasn’t really had much use for a female-dominated storyline unless she has been spread & ready or armed to the teeth decapitating werewolves. And there especially hasn’t been much interest in teenaged girls unless they are drooling over boorish, narcissistic, male vampires. Who knew that there would one day be a market for such rubbish written by a mediocre female writer who can barely string two words together? Welp, Hanna isn’t a trollop, and she doesn’t drool over boys, in fact, she doesn’t even quite grasp the concept of indoor plumbing or electricity, but hey, she sure knows her way round firearms and smashing a man’s nose up into his brain. And all without those damn vampires, too.
I have no complaints about Hanna, generally speaking. It appealed to my fascination with all things genetically modified, and re-awakened my long since forgotten liking for the days of Dark Angel, before the writers turned the human jungle cat, Max, into a quivering pile of romance novel-inspired, air-headed, ditz. But, substantively, I do, however, have just a few small quibbles with the screenwriter’s thought process.
If all Eric wants for his astoundingly, athletically-gifted daughter, Hanna, is to have a regular life, then WHY are they living in an isolated cabin in subzero temperatures and WHY the HELL would you EVER have her push a button on a transmitter so the evil, red dye job who wants her dead can find her??
Wouldn’t it have made more sense to integrate quietly into society and just sign Hanna up for track or something at the local high school and THEN have the evil, red dye job somehow find her? But noooo, you just had to bring out the transmitter and have her stupidly press the button so she could be easily located in the woods. Either the writer thinks the audience is THAT dumb, or this is the kind of insipid trash movie producers think will sell. Even the girl with the dragon tat wasn’t this obtuse.