On the fifth of May, this film will be ten years old. I wanted to see the movie a long time ago, but I could only do it now. Armed with sweets and drinks sat down in front of the TV and is now ready to share his impressions of what he saw on the screen, and some thoughts on this matter.
A narrative criterion or narrative. Growing up in the forest, the girl fights with the special services. Lyrical action movie with the soundtrack The Chemical Brothers Fragile at first glance Hannah is the perfect soldier. The secret of her birth is jealously guarded by the US government. Her mission is to take revenge on the former employers of her father, once a secret agent. Special services around the world are on the trail of a girl killer. The hunt begins... And the whole script is about hunting, but if it were that simple, it wouldn't be interesting. At some point there will be a castling and the victim and the hunter will switch places. A girl who grew up away from civilization at the same time learns the joys of ordinary life - music, friends, guys, but the adaptation is difficult, and it is also interesting to watch. Contrary to popular belief, in terms of semantics, cinema is not as empty as it may seem at first glance. It's a little better.
Visual criterion or technical support of the tape. The operator is well equipped with the camera, building a perspective from which we observe events. It is worth noting the work with plans and staging dynamic scenes. Observation flights and snow-capped landscapes I consider one of the successes of this tape. They're asking for a desk. Action may not be the most beautiful and verified, but there is a share of diversity in it, not only on foot and car chases, but also shootings are well staged, there is blood in the frame. Also note the soundtrack, musical themes from the brothers chemists perfectly complement the overall atmosphere of what is happening, especially relevant in dynamic scenes. Individual themes can be guests of your playlists.
Acting isn't bad. This film was a breakthrough for Saoirse Ronan. She played a strange girl, not like the rest of the girl, who knows a lot about weapons and easily sends bad guys to the next world. But it's hard for her to interact with people. She doesn’t need a lot of tears to show emotion. In our dubbing, she speaks in the voice of Veronica Lysakova, mostly she is removed, voiced a little. Eric Bana is always charming, there is a certain intelligence inherent in each of his heroes. The voice of Anatoly Bely sounded the most organic in this image. Cate Blanchett is beautiful, her legs drives her crazy, not the most dramatic role, but Victoria Tarasova gave the image of voice completeness, the picture and sound coincided.
As a verdict. A good movie, which tries to ironize the modern spy movie, especially goes to Bourne, but there is no sense of tracing. This is an independent film, in which its strong story and direction is strong, and there is someone and something to see. I recommend dating to understand how close it is to you. All health, good and good movie!
8 out of 10
This is Hannah. She's 15 and lives with her father in a hut somewhere in the Arctic. And they did not come there for a couple of weeks to appreciate all the charms of extreme tourism. No, they've been living here for twelve years. Hannah runs after wounded reindeer, sometimes a bat sneaking out of nowhere father, who has an idea about the upbringing of a teenage girl. And Hannah shoots a lot from the parabellum, sparing no bullets - apparently, the hut at one time was a weapons warehouse, since the ammunition was enough already for a dozen years of active shooters. In the evening, sitting at the stove, the parent reads her the facts from the encyclopedia and tests the girl for knowledge of languages. When it turns out that Hannah is no longer as easy to sweep as in the good old days, the father takes out a Satan box from under the bed and clicks a sinister tumbler. On the other side of the planet, a woman with the evil face of a professional bitch is seriously upset when she learns that one unreliable subject, whose memory has long been mothballed, has been cracked by tumblers. Being a high-ranking CIA boss, the woman, in order to restore peace of mind, sends a whole squad of special forces in order to multiply a single father by zero. And here we go!
This is a very strange film that does not stand up to criticism. I am not talking about the lack of realism (where does it come from?), but about the obvious gaps in elementary logic and common sense. Hannah falls from the wilderness, in which she spent her whole life in the real world. Do you think that's stressful for her? It wasn't close. She rides through picturesque places, escapes from secret bunkers, communicates with different people and at the same time shows no signs of surprise. Saoirse Ronan is quite a decent actress, but here her acting is as colorless as Hannah's hair. Well, the actions ' the perfect weapon' often more than strange. She scatters a crowd of soldiers in a bunker, but infamously runs away from an unsportsmanlike German badgy, leaving her new girlfriend's family captive. Since childhood, she was trained to kill a particular person, but when she meets this person closer to the end, she begins to speak some nonsense about & #39; I do not want to kill' and so on, and after a couple of minutes showing miracles of dexterity, catches up with a poor (no) wounded woman and shoots her in the head. Eric Bana as a hero father is not inferior to his daughter. To list all the bugs of his actions is not even willing. The role is as mediocre as Ronan's. The underlings of a nasty agent are just a misunderstanding. The manneristic character of Tom Hollander and a couple of skinheads, one of whom seems to have not yet emerged from puberty. With such a moronic squad, you can whack Grandma at the entrance, but do not hunt for the perfect weapon and her operative folder. The only ray in all this grotesque madhouse is the antagonist in the form of the scummy agent Maurice Wigler, brilliantly played by Cate Blanchett. No complaints. The wonderful British woman manages to squeeze the maximum out of her role and Maurice in her performance - a real fury, cruel, strong-willed and absolutely unyielding. However, it is also unlike a robot, it is characterized by fear and barely noticeable doubts, which Blanchett gems out.
The film is worth watching only to once again be convinced of the undoubted talent of Cate Blanchett and marvel as the director of such worthy films as ' Redemption' and ' Pride and Prejudice' managed to remove such a boring moor. Not even the Chemical Brothers can save you.
5 out of 10
The film tells the story of a cool girl who was prepared by her father in the wild for survival, hiding the true purpose of the main character and the meaning of everything that is happening. First of all, attention is drawn to hermitage. The books, the stories of my father, that's all that surrounds Hannah. The antisocial situation plays a key role. Such an idyll does not last long, only to attract the viewer.
Through the introduction of the object into society, the picture acquires a different shade, more interesting and intriguing. Hannah is an unusual child, and her skills are not so much training her father as wonderful DNA. Next, the typical preparation of villains, incomprehensible motives of the search for a girl and hunting. The plot really follows the “Mattodaymond” path and shows what is no longer surprising the modern viewer.
Against the background of predictable villains and the search for the truth, a great setting of relations with the family is built, which Hannah accidentally discovers. The path of adaptation is the most interesting in this film. A wonderful girl, who is clearly hiding something, attracts travelers, why we see a rapprochement with society. Wild skills are also trying to adapt to modern society. Unfortunately, little attention was paid to this, friendship, communication with the opposite sex, trust in secrets were presented in pieces. The fate of these characters becomes unknown. Are you really? Embarrassed.
Empty words and naivety of the girl give a few more secondary characters, in a predictable end to bring the main forces of evil with this child. The mystery of the origin and purpose of such an experiment slips by, in two minutes. I mean, you know, director Joe Wright takes some very interesting plot details, but he doesn't finish them. It was possible to focus on one thing, but they give us everything clean, and since the timing is tightening, important moments follow in snags. Broken and not finished.
It's a nice part of Saoirse Ronan. Here she surprised and the image, and appearance, and fate of the heroine. I liked the girl in such an unusual role. Cate Blanchett showed signs of acting talent, but she was not enough. Eric Bana – occasionally fit into the film, so that we do not forget about it. Tom Hollander impressed with his villain. Competent, unusual and pleasant. Perhaps the gangster and typical, but the appearance of the actor and the image of the character made something attractive.
The picture is too crumpled, you will not see anything new, and the predictable plot will be distracting. Character images are interesting, the acting game is not bad, but so on average.
Hannah, 16, grew up with her father in the mountains, cut off from society and modern technology, as she prepares to become the perfect weapon. Her goal is to kill Marissa, a CIA agent.
At first, the film presents some strange almost unreal sight, the father raises his daughter in Spartan conditions only to get revenge. The snowy decoration of the forest, stained with blood, is an incredible sight, and even if this film was a drama and struggle with the world around it, the film would still be beautiful, both psychologically and aesthetically. But the film suddenly changes color, and turns from a family saga into a famously twisted action movie, whose action scenes are not inferior to John Wick in terms of dynamism and drive.
The cast, if not perfect, is close to perfect. Saoirse Ronan – Hannah Heller, just the perfect embodiment of the perfect weapon, after “Nikita” there have been no militants in which the main character was so cute and dangerous, I emphasize cute and not sexy. Kate Blanchett – Marissa Wigler, her character is simply magnificent, she is as beautiful and dangerous as her character from another well-known film. The perfect rival for the perfect weapon. Eric Bana - Eric Heller, in the role of the father looked very solid, although to the level of "Leon" he was far away. Tom Hollander - Isaacs, very organically looked in the role of a sadist mercenary, in general was the highlight of the film and that is very important not lost on the background of Hannah and Marissa.
"Hannah." I certainly liked the perfect weapon, the film is shrouded in a thick atmosphere of psychologicalism and some arthouse, which makes the film special, not like American action films shot in a clip style. And the soundtrack from The Chemical Brothers turned the action movie into an incredibly chic film. In general, Hannah, in fact, is a fresh gulp, in a huge selection of fighters.
A movie is like a movie. Not a masterpiece. Not a failure.
The plot is quite simple, but nevertheless fascinating. An interesting idea is to combine a child and a murderer. In fact, this is quite organic: children in general have very peculiar ideas about cruelty, which easily coexist with naivety, helplessness, kindness. And Saoirse Ronan managed to convey this well: in any scene, her play is sincere and convincing. Here's Hannah, an ordinary girl who wants to hang out with her girlfriend and ride a motorcycle with a beautiful boy on the night highway. Here it is – easily, effectively and cruelly done with a crowd of special agents. The transition from one state to another is instantaneous, like turning a switch, a slight teenage shyness and naivety instantly turns into the emotionless cruelty of the ideal killer.
It's pretty cute. Of course, not so that the jaw hangs from the species on display, but quite good. Action scenes - fights, chases - clearly succeeded more than scenes of peaceful life.
Selection of actors... Well, that's a word. Only Hannah herself and her antagonist performed by Cate Blanchett are remembered. And the blonde bad guy. The rest of us are kind of ugly. You look at the cast and you can’t remember what this or that actor had to do with the film.
In general, the film is quite high quality and without any complaints. A tough middle man. It seems that such films are called passable - a new word in cinema will not say, but with the function of entertainment copes successfully.
But the movie has one highlight. More precisely, the giant, incredible zest that made me write this review. It's the soundtrack to the movie. He's brilliant. Just genius. He drags everything on himself - passing scenes, sometimes sagging plot, somewhat drawn-out plans. The Chemical Brothers did something magical, as they always do. To be honest, the soundtrack for such a movie turned out too good. On Escape 700, Devil is in the details and, of course, Container Park, you forget that you’re watching a movie and you have to follow the story. The sound is so good that at times it just “scores” what is happening on the screen, as in music videos: yes, even Goofy with Mickey Mouse show, only the track does not break off.
In general, this is the case when it is almost like the saying: it does not matter if you see once, but you must hear a hundred times.
7 out of 10
In general, now a seditious thought occurred to me: was it not shot as a musical film-video for the work of the Chemical Brothers? It seems very similar, hence the brevity of dialogues, and the priority of action, and a selection of key scenes.
Quite a fascinating picture of a purely entertaining orientation. At the same time, it is quite mediocre, allowing you to ask uncomfortable questions to the plot and actions of the characters. In short, the thing is absolutely unnecessary.
Perhaps the main attraction of this picture is Hannah herself. She looks like an alien: blond disheveled hair, blond eyebrows, unusual facial features. It is fragility itself and defenselessness itself. The girl in this picture goes through several stages, typical for different types of heroes: acquaintance with civilizations for Mowgli, growing up for a young girl. Known only by hearsay, Hannah seems to be more afraid of the modern world, such as television or electricity, than dozens of thugs who periodically come to her soul. Unacquainted with anyone in the world except the person who raised her, she is willing to believe the first person to show kindness to her, even though Hannah grew up soaking up dislike for some individuals. This gullibility is a trait of youth. Hannah is not at all familiar with the world as such: with its language, its accepted norms of behavior, even the accepted norms of sensation. So Hannah understands, but can't always support, this modern game of "politeness," or "falling in love," or whatever, which is normal for any modern person, but completely alien to "Mowgli." Therefore, she is often able to shock other people with her candor, simply not realizing that she is candid.
At the same time, the heroine is a girl, perfectly educated, perfectly owning her body. Therefore, it entertains the viewer with conversations in different languages, encyclopedic knowledge in many areas, and, of course, duels and fights with many people, where a young girl always comes out victorious. However, Hannah is not invulnerable: she is able to feel pain, both physically and mentally, she is able to lose, so the viewer begins to sincerely worry for her.
The plot of the picture itself is quite linear: there is a point A where everything begins, there is a point B where you need to get to, there is a “level boss”. In fact, it is the path from A to B that the main character strives to pass. Adventures here are minimal, her path is accompanied by a minimum of new acquaintances, several scenes of cognition of the world and cognition of people and fights. It is quite easy to overcome boundaries and distances, and without further explanation, which is quite strange. In parallel, there is a hero named Eric, who does something similar to Hannah, the main villain, who is beautiful and dangerous, and very cruel. The main "raisins" - the story of Hannah's origin - are served in very small portions, but in the end this story is quite banal.
The authors force their characters to act often strangely, to make not very logical decisions, say, the very first decision raises one question: why? After all, this decision in the end entails hardly necessary difficulties and consequences, which are obviously quite predictable. The same question evokes a key decision in the past, other than the brutality of the main villain, the decision cannot be explained. Why did Eric and Hanna go about doing what they did? There are too many illogical decisions that create difficulties for the characters, but are not explained by any meaningful motivation.
The film has very good actors who are really good at their roles. The main problem of the actors is a too simple plot that does not allow either to show the problem of fathers and children, nor to fully reveal the topic of Mowgli in the modern world or the topic of growing up, nor the topic of friendship and the nature of people as such. Many topics have been raised, but none are fully disclosed. At the same time, the main characters cause sympathy, the main villain causes dislike - everything is as it should be. But there is a feeling that they just gave the situation “in the box”, when all the lines emanating from it are cut off, because of which what is happening gives a plaque of falsehood.
The fighting here seems a little confused. This feeling often develops due to the accentuated not too expressive costumes of the heroine. In addition, everything happens very quickly, often at night, and somewhat very everyday. Perhaps this should add realism: fights can hardly be beautiful, but only this approach is not at all cinematic. Well, yes, the gun in this picture can really solve a lot, and yes, it gives an advantage.
I like the musical design, quite expressive. Interesting costumes, each hero has his own style. So, Eric is the strict elegance of a spy/superagent, Hannah is a slightly confused girl “not from here”, a little crazy, her new friends are a typical family, the main villain – similar to Eric is elegant, her red – almost red – hair warns of danger, as the bright color of an insect or animal warns of its venom. The film covers many locations: from a snow-covered forest of hermits across the desert, hot Asia to restrained Europe. In all these locations there is something unusual, for example, a tent camp, or an amusement park, necessarily half-abandoned. Such unusual places hold the viewer's eye.
It turned out somewhat ridiculous, but not boring, with good actors in the lead roles. Did the authors have anything to say about this film? Not really. It is quite capable of entertaining the picture. No revolutionary ideas, no artistic discoveries. But with a rather unusual heroine in the lead role.
6 out of 10
30 kilos of disgust. Or how to fill a chest of pale flesh with unnecessary rot and leave it for safekeeping for 16 years in a godforsaken gnaw, somewhere beyond the Arctic Circle.
Killing children, as well as children themselves, has long ceased to be something out of the ordinary.
Whether out of a sense of his own inferiority of a failed prodigy (well, they did not drive a dude to lift dumbbells, did not teach a morzemka), or out of a desire to concoct a boiling cocktail not to understand what, as long as it was to the taste of diabetics and sweet-eaters, and lovers stronger, Joe Wright created this movie Frankinstein.
Clearly, I imagine a gathering behind a hookah, somewhere near the embankment of Amsterdam, in the almshouse of some forbidden plants. Here is a mature Joey, launching rings with friends, approximates the idea of such a tintz:
" Well, since there are children in the main roles, the film is definitely family! So, add dramas: the father of a super agent, a former thunderstorm of foreign intelligence, a Nietzschean superman, in fact turns out to be not her father at all, and in general with black spots of biography. Okay, there. Chasing, special effects, shooting - I don't even say that. Replicas of a stupid girlfriend and attempts at the first kiss - there is already humor, besides flat and stuffed with cliché - the masses will like. Stunning scenery of snow-covered Lapland and the heat of the Moroccan deserts, super long plans ... well, everything is there! So what else is... Let the girl be an albino? Well, for the tundra effect... The main villains? Skinheads! - That's right. Let the leader be a white-haired man of faggot manners - too, now it is impossible to discriminate, after all - we are a liberal society ... Looks like everyone's happy! No what? Nothing – a scene in a tent at night, close-up – this is a pederastic sweet with a tinge of pedophilia. So, what else? Of course, the reserve parachute is at least one star. Let Cate Blanchett, the face of many blockbusters, be perfect! We sell the cash register! Listen, the shoal is dead, Lebanon is still a marakech, eh?
Well... was rightly noticed by one talented critic who wrote an essay for the anniversary series of James Bond “Kife Coordinates” – the new James Bond does not have the courage. How come? Torso, squares, sexuality on every square millimeter of skin, slightly stretched ears sideways, flawlessly leads on turns, unsinkable, persistently endures pain, shoots without a miss both villains and without misfires impregnates beauties-barbie... But there is no courage...
Courage is when you see suffering on the face of a person suffering, grief, anger, finally pain. But he overcomes them. The absence of fear is not an indicator of courage. Like the act of a scumbag - not always a feat. It is about overcoming yourself.
Same with our Hannah. The dislike of this creature began with the first mile or second. Flat, colorless, charismine-free face of a cardboard character. Empty voice. This tiny pale piece of frail flesh from the very beginning causes genuine disgust with its facial expressions not so much Bella from Twilight (who just has Absence of Acting Syndrome), but, a little bit, a lot, paralyzed, only on the entire scoreboard Sylvester Stallonne! No Emotions, Zero Feelings is the real Ben Affleck Hate Box from The Gone One (best film of 2014). Killed a deer, oh, didn't get into the heart. The voice of Google Translate broadcasts: “I-again-not-in-heart.” She twisted the neck of the overseer, allowed the crowds of Smith agents, finally came out in her pajamas. The voice of Google Translate after all that happened unabashedly tells the story of a friend of Gunther, a love for the Arabic language.
The plot plot, like the end, kills with its utter film impotence. Well, did you have to take revenge on Maritsa? – go to her yourself, do everything quietly and peacefully, if possible without involving any of the strangers. Why was it worth inventing a story with a radio sensor, calling a squad of werewolves-EMERCOM, cooking all this oatmeal??? Why was it necessary at all to become the last hermit, when it has long been proven that the best way to be safe is to disappear into the crowd: a reliable fortress or a single hut somewhere in the middle of the tundra is a living target.
The laws of psychology are also heartlessly trampled by the sculptors of the “cinema masterpiece”: is it true that, being able to kill a person in six hundred different ways per second, the young Uma Thurman has never heard of the electric kettle or the dragon Ventilatorosaurus?
And the kiss scene is such a reference to Iron Arnie, who knew the history of beer all the way back to the Egyptians and never tasted that cadaver poison? All right, that was the bottom.
The number of muscles involved in the kiss and 20 kg of sperm in the whale - here they are, those tips of sex education daughters. One gets the impression that this Korean farmer (breeding dogs for delicacies) all these 16 years fattened his universal soldier, and all in order to deal with Maritsa, and the hands were like after soap Safeguard? Well, cleverly.
Biology: The Other Sciences Inside
Even if this whitish hellboy was regenerated in his DNA, why, I'm sorry, was it still so frail and shallow? Even stuffing “his” (=it) with dopamine and coke, angering and teasing – this small incarnation of evil would not have been able to turn the big uncle over and bear at least a couple of blows received during the film. No genes are powerless here: either glue more meat to the bones, or introduce magic into the film - there is no third one here.
And does not save all this masquerade neither Kate Blanchett, nor Chemical Brothers, nor ultra-long plans, interesting film-maker cheats, when a camel chews the moon or beautifully molds the shots (right Takeshi Kitano in symbiosis), albeit ridiculous, but very impressive looks stylish Armani against the background of polar twilight - all this beautiful facade is prostrated under the rotten foundation of cardboardity of heroes, clicity scenes...
After watching the film, I did not feel like Nicholas Cage (The Prophet, 2007) and my soul did not sing in the Platonic choir, “remembering” my life. I knew how it would end, I predicted each scene, I knew the content, being only in the preface.
P.S.
For a moment, when the events took place in the middle of the GDR panels, I even thought the shooting was unfolding right in my yard and even felt euphoria!
6 out of 10
Kate Blanchett, Eric Bana, Saoirse Ronan, Tom Hollander, Olivia Williams and Jason Fleming - all these people in the same package! Isn't that intriguing? The actors are famous, some of them already deserved even, have a decent army of fans and all of them gathered in one film from director Joe Wright. And also the genre - action/thriller - is generally a great joy for all fans of cinema. And the rating of expectations and hopes from the film “Hanna” was almost leading until it was officially released. But, unfortunately, not all viewers were satisfied with what they saw. And, frankly, the claims made to the picture have a solid foundation. We can only hope that the sound criticism went to all the participants of the project only for the benefit and the mistakes made will not be repeated, because both Joe Wright and the actors from Hanna are uniquely talented people and can give many more pleasant minutes to the public with their new works.
A true Englishman, born in London, Joe Wright received flattering reviews when he decided to make a film based on the novel by Jane Austen “Pride and Prejudice”, then “Atonement”, written by Ian McEwen (in both cases Wright starred in the female role Keira Knightley), and a little later he shot “Soloist” based on the biographical book by Steve Lopez, a journalist from Los Angeles. It was not for nothing that I pointed out which films were on the director’s track record before he took on Hanna. All of them are dramas and all of them were written out in books, that is, it was the task of actors to create characters, not writers or even directors, that is, Wright worked with everything almost ready. And when he decided to try himself in something new - in a new genre and with an original script - the first pancake came out in a lump. Wright did not even try to present his characters in a new, interesting way, relying on the performers of the roles in everything, and he immersed himself in staging scenes of fights, chases and shootouts, although even in this case it all depends on the operator of the film.
The images were really very familiar. Let me start with the most noticeable. And it concerns, with all due respect, Kate Blanchett. I felt like Irina Spalko from the fourth part of Indiana Jones. Still the same warlike woman with great power, restrained and cold, gloomy and cynical, with no hint of virtue, just a real walking excavator over corpses. And now Kate Blanchett appears before us in a familiar image. Joe Wright in this case could not help but notice that plagiarism is clearly ripening here, but the director allegedly closed his eyes. But this blunder will not cause enthusiastic words to the picture and to the address, unfortunately, a wonderful actress. Eric Bana reminds himself from the tape “Munich”: a fit special agent with the skills of a professional killer, constantly performing some particularly important task. Only here Bana looked great in this image of Spielberg, but Wright’s look he does not please. By the way, Bana will transfer a very similar image to the film “Blackbird”, which will be released exactly next year after “Hanna”.
Saoirse Ronan has already worked with Wright in the film Atonement, for which she even received an Oscar nomination in the category Best Supporting Actress. And here is their union again. I can't say anything specific about Ronan's character. The young actress, of course, prepared for the role, probably engaged in martial arts, but her robotic character with a lack of emotions does not cause those for me as a viewer. Only a couple of times did she express some kind of emotional play, but in my subjective view those scenes required much more expression. But the coldness of the film, apparently, left an imprint on Saoirse Ronan. But Jessica Barden, the same age as the heroine Ronan, turned out to be more interesting, so lively and even sometimes funny, in general, liked her much more than the main actress of the film. Tom Hollander was a bit like Paul Bettany of The Da Vinci Code, and Javier Bardem of their Skyfall Coordinate, although it came out later than Hanna. And Olivia Williams and Jason Fleming did not leave any memories of themselves.
And despite the fact that the film as an action movie turned out to be, in general, not bad, albeit very average, but the acting merits in Hanna seem doubtful, but the ensemble was assembled wow. Once this cold geographical location of action and the expression of emotions film is suitable, but no more.
6 out of 10
And a special thanks to The Chemical Brothers for a great soundtrack.
No, no chance. First of all, it is a psychological drama about the social education of a person, about the concepts of friendship, motherhood, fatherhood and the existence of a person outside society. All aspects and themes are fully covered in this film. The storyline and directorial work perfectly coped with the tasks. The film tells an interesting story about a person who got into a non-standard situation, although all films are based on this, here it is played so pleasantly to the eye and for perception is fine, and about this below:
Saoirse Ronan, at the head of the cast after watching this film became one of my favorite actresses, chic, excellent acting perfectly conveys the entire inner, partly empty world, the main character. Watching the development of the plot through the prism of the perception of the world by the main character really gives pleasure.
Soundtrack. The Chemical Brothers are excellent. Before I knew who wrote this masterpiece, I thought it was everyone's favorite Zimmer. The tracks convey the atmosphere with a hurrah, immersing in this story with his head.
A very controversial plot baffles the average viewer, whether it is an action movie, which is not, whether it is a certain drama, the film perfectly staged combat scenes, they look good, however, they seem superfluous throughout the film, here rather the fault of the plot, cope with this interweaving of action and drama was a difficult task and Wright coped with it, but clumsy, in the film slips a sharp contradiction instead of a smooth gradient. The result is confusion. However, I would not say that all this genre blur is minus the film. On the contrary, this is an experiment in the genre of drama and action films at the same time, and I think that the experiment turned out to be more than successful. Yes, you could have done better, of course, done better is possible always, but I can’t imagine what could have been changed in this film to make it seem better.
9.5 out of 10
Personally, I have a Hanna movie: The perfect weapon caused mixed feelings. On the one hand, the film is interesting and attractive, on the other hand empty and meaningless.
Of course, the advantages of this film include Saoirse Ronan, who played her role perfectly. She made me feel her character, empathize with her, be happy for her. A 16-year-old girl who grew up in the woods, trained only to kill, who knew a lot about the world, but never saw it all in reality, succeeded in fame. At certain points, I felt sorry for poor Hannah, who spent her entire childhood training her fighting skills. Do not forget about Cate Blanchett, who perfectly played the role of an angry aunt. Marissa in the film looked intimidating, spiteful and ready to remove from the way anyone who interferes with her. There is not much to say about the acting of Eric Bun, so I will not focus on it.
In addition to the actors, it is worth noting the work of the film crew. In my opinion, the action scenes are simply magnificent. They perfectly show how a small and fragile-looking girl can kill several adults at the same time. There are also no complaints about the operator’s work – everything is filmed qualitatively, without stupid and inappropriate jitters of the screen and other tricks.
Now let me tell you what I didn’t like about the movie. As in many other movies, we are waiting here for a super-secret military base with just "incomparable security system." This stamp pursues a lot of such bases. However, this pales in comparison with the main disadvantage of the picture - this is the plot. It seems to be interesting - the adventures of a girl who grew up in the forest in an almost unknown world. However, in general, I believe that the plot is very much unfinished. One of the plot holes, I think, is that first Marissa looks for Hannah because she needs her, and then she just wants to kill her. Where the logic is in her words is unclear. The ending, of course, made me very disappointed. Those of you who have seen the film will understand what it is about, and I think it was possible to extend the film a little bit and make a slightly sane ending. However, the writers leave the viewer in complete confusion and reflection, what will happen next, they say, think for yourself. And in general, the whole plot is too banal: super secret experiments that then close and destroy everything associated with these experiments. How many films were built on such a frame.
I can say with confidence that I enjoyed the film, but I think it could have been much better if it wasn’t for the banal plot and the bad ending. Based on this, my assessment:
In the far-flung forests, where no human foot has stepped, lives a girl named Hannah, but not alone, but with her father, who devoted his whole life to make the child either Lara Croft, or Alice from the Residence of Evil, or a cute killer. As a result of a special pedagogical approach, (march-throwing on the terrain with obstacles, deer deprivation of vision through shooting from a rifle and other necessities), the father-nedokiller grew "not a mouse, not a frog, but an unknown animal." Hannah runs well, shoots accurately, fights well, the girl has a whole Wikipedia in her head. At the same time, the girl does not know how to communicate with peers, in my opinion, she generally lives in ignorance that there are somewhere her peers who live a different life, but I am already running ahead. The beginning of the film was boring, but you could convince yourself that next, next, the movie will begin. Alas, the film did not save the episodic appearance of the Main British Rose Michelle Dockery. Not saved even the beautiful trembling, red-haired, insidious heroine of the genius Cate Blanchett. The film is bad because it lacks a story. There are some sort of glued together scenes, cutting with difficulty related to each other frames: here is a Moroccan camp, but the girls go to the party, here Saoirse whizzes the guy, but the girl shocks her parents with her “original” statements about Victoria Beckham. Weather and nature. There's winter, there's summer. A little shooting and a little chase. And at the end of the movie, you only ask one question: what was it? It's not an action movie because there's not much action. This is not a drama about a teenage murderer, because there is no hint of drama, and dialogue is minimized (but Ellochka, an ogre, conversations would be understandable and even seem deep and philosophical). It's not a movie. Is it a hodgepodge on the theme of "Spread the clip for two hours?" - Easy! Not surprisingly, the director of this vinaigrette is the notorious Joe Wright, who once again shows that working with the material, read with the plot, he has a limp on two legs. Wright can't concentrate on the main line, so instead of an action movie with a little killer, we get a hell of a thing. If Joe Wright is so eager to shoot pretentious nonsense, then he better retrain as a clipmaker, Miley Cyrus and Rihanna will thank him.
The review for the film could be much shorter: in the place of the director, I would be ashamed to invite a clever and beautiful Blanchett to such a film garbage.
Imagine how many more secret government projects remain unknown in the industry of the prosperity of journalism and international law, how many unfinished and unexamined intentions have not come to fruition, how much is still unknown and unclear to us in the documentaries and news offices of the modernized corporation of fast news, what are the secret services still silent about? The answer we can always find in some spy thriller or action movie in a new way, films depicting everything exciting and attractive, and still they can not cover a whole range of important news headlines of national importance, which are already sharp in the languages of the entire world community. It seems that the concern of the authorities may go even further to hide the most ill-conceived and missed earlier, erroneous, which is not worth the price. What's the secret?
Throughout the past century, international organizations withheld many facts from the mass media and remained silent until the upper classes gave the sign. In our time, almost nothing has changed, only more has become known, and most of all, the global network itself suffers from this, losing enough certificates to build a new personnel department of this specialty. But the idea of the film I am discussing is not the organizational precaution of the parliament or the Supreme Council of any state, but that the organizers of all this turmoil will not fix anything and someday there will be a failure and all the data will come out. That's how I saw the specific thriller "Hannah."
Young Irish actress Saoirse Ronan in the pale but powerful image of a militant teenage girl on the brink of conflict between the authorities and a group of criminals and other secret persons, about whom too little is known. One of the most brilliant roles in the professional career of the actress. Avid Cate Blanchett, one of my favorite actresses, the main antagonist of the film in the face of a double agent who deceives both. She wants to destroy a girl-murder machine that has risen from the frosty outback, which could ruin her entire business reputation. Brave former intelligence agent Eric Bana protects his artificially produced daughter and raises her in the traditions of martial arts and spiritual peace beyond the city limits. He turned her into a hunter, and scientists created a powerful tool for additional training, a sweet child, beautiful in appearance, but representing an ardent avenger in the soul. That's the plan of this secret organization! I'm going to play Tom Hollander.
Director Joe Wright keeps the viewer in a tense atmosphere of fear and panic, without observing common rules, in the form of a bright impulsive film that breaks all stereotypes - exceptions in its genre. I even praise his participation in this film, it is, without a doubt, a great work and a bold approach to this difficult topic.
I separately evaluate the musical compositions of the famous creative duo The Chemical Brothers, a separate musical accompaniment in this graphic film work and the general background under which you can not write pictures. Rough lightning-fast program effects and mastery of planned and separate shooting are an achievement in the new cinematic art. I don’t endorse the fact that every next film should be filled with this play of emotion and unique genre features, no, it’s one of those exceptions that can’t be repeated or spoiled.
The picture, at first glance, says little about the extreme secrecy and political importance of the authorized agency on this issue, does not distort the biological factor and the influence of militarized light on what is happening, but brings love and fatherly false feelings to the first level. It's a feature of European cinema.
Hannah is not a weapon, not a beast, not a destroyed project, it is a perfect type, new opportunities, new norms, a new design!
10 out of 10
There are two themes in the world of cinema that have become so boring in recent years that the producers of each new film must prove their originality to the public: vampires and assassins. Both of them live almost without any rules and can afford not to work (the first is unknown death), and therefore extremely interesting for office workers - frequenters of cinemas.
"Hannah" teeters on the brink of both themes. If everything is clear with assassins - from the very beginning of the film we are told about a girl who can easily kill professional mercenaries. She's a natural born killer. But with all this, there is in her talent, something infernal, mystical, vampiric - it is not for nothing that focusing on this role, Neil Jordan invited Saoirse Ronan to Byzantium. However, the otherworldly causes of the heroine's supernatural abilities will not be found - it's all about scientific secret experiments. The masses like hints of conspiracy.
However, the classic “shooter” from the film did not work. Joe Wright decided to surprise the viewer by mixing contemplative-reflective style with the theme of the deadly hunt of special agents for a little girl. It turns out a very unexpected decision that makes you forget about the successes of Luc Besson and remember Röfne. Something elusive stylistically reminiscent of "Drive" and "Only God will forgive."
It turns out an interesting situation - Wright achieves a completely original picture, completely forgetting about the plot. This disparity damages the integrity of the film. Due to this, the plot seems not that fantastic, but simply unreal. Hence the notorious improbability of battle scenes. Looking into the eyes of Saoirse Ronan, you realize that her character is a real fighter. But, if you evaluate each of the battle scenes with her participation, they came out completely implausible.
And finally, the simulacrum seems not only martial arts in this tape. Simulacrum is the basic background, the suffering of a girl-warrior for parents, family and peace.
Crying Matilda, walking through the streets of Paris with a flower and remembering Leon looked quite harmonious. I'm not the only one who got into this scene. However, running on the train Saoirse Ronan looks too far-fetched. I’m not against Leon, where reality and poetry are intertwined in the perfect work. However, the poeticization of the Hanna murders does not arouse my admiration. It seems that the “childish” theme in this “killer” film was superfluous. Questions of the interaction of the “adult” world and children in the same year were just wonderfully revealed by the Dardennes brothers with their “Boy with a bicycle”. At the same time, they noticed real violence, at once not crossing the verge of respect for the Child.
Although, for Cate Blanchett and Saoirse Ronan, these roles are additional bonuses in the personal piggy bank. One perfectly coped with the negative role, and the other once again showed that her natural expressiveness and acting talent can give several masterpieces in the coming years. It was thanks to her participation in the tape that she slightly increased her rating.
3 out of 10
It seems that if the trailer immediately likes, the movie will be several times worse. Here it is not even in the production itself, but in the plot, lame on both legs. There is an ex-agent, his young daughter, an evil boss, and a crowd of unnecessary characters who do nothing but die. The agent does not cause any positive impressions. Although in the beginning he seemed the most adequate, but quickly "corrected", starting to behave as unclear as the rest of the participants of this play. He takes care of his daughter, giving her everything he knows. That's good, unless it hurts her. I don't know why he taught her everything. For Hannah's safety? But wasn't she absolutely safe next to him? Of course, there is no entertainment for a young girl in such a place, but she did not get it when she left home. Only killed a few, betrayed her friend and her family, and treated everyone with a childlike perception.
Hannah has a separate conversation. Her father says she grew up, but this baby was still a child. She did a great job with the agents sent to her life, but she could not understand that it was better to stay away from strangers, because they could get hurt. Little Hannah seemed to be more interested in her own life than her father’s. He raised her, cared for her, fed her, taught her everything that protected Hannah afterwards, and she, you see, got offended, so she left him, and she ran away. At its core, Hannah was just using people nearby. She did not try to save anyone, leaving them to die alone. The first one was to contact them.
In fact, the last in line is the evil boss. Another character whose actions have no logic. She's looking for an agent who wasn't going to ruin her reputation. He just wanted to bring his daughter into the world, and she like a chain exploded, starting to kill everyone right and left. Why she tried to catch Hanna is also unclear. The girl did not threaten her.
The bottom line is, first of all, that Hannah was taught so much to defend was a good thing. Secondly, you could not teach her everything, but just move to Germany and live happily. The evil boss had no idea the missing agent was alive. Why he told her about it is unknown. You want to check on your own daughter? Or did he want everyone he didn’t like to die? The only good actor was Saoirse Ronan. Perfectly played, showing the audience believable Hannah, who knows the world and tries to escape from problems.
None of this would have happened if Hannah's father had behaved normally. He was not sought, his daughter was also left alone, and he suddenly climbed into the heat. Actually, my daughter sent me there. I have never seen a more illogical film.
In a remote and Nordic eternally frozen forest, in a wooden hut, a caring father brings up a fragile teenage girl with touching freckles on the albino of her face. She educates in conditions close to the Spartan: during the day, Hannah does not kill moose with her bare hands, fights with the pope on equal terms and without a miss smears from a luger at targets; in the evening she learns by heart articles from a large (Soviet?) encyclopedia and exercises in languages. With this, the film begins, and you will not see a clear explanation of what is happening at least until the middle - the information necessary to recreate a whole picture is given strictly dosed, preferring to maintain an atmosphere of light mystery.
However, this is enough to draw certain conclusions about the movie itself. The main character, frankly, evokes thoughts about the plots that dreamy seventh-graders usually come up with: "Well, she's this kind of cool, she wets everyone from all types of weapons, and she also knows all languages, and generally trains shorter from the diaper ..." That genre quite confidently puts the film in the category of "comics" (you can even go further and call it "anime film"). And here lies the crucial point that will most likely determine how much you like the movie. Try to treat Hannah as a serious spy thriller – and be prepared for almost two hours of absurd delirium, filled with logical blunders and inconsistencies in the script. Accept and forgive the film its "comic" conventions - and you will have a sincere pleasure from (in my opinion) one of the most underrated films of 2012.
Being in its plot and content a typical popcorn movie about a girl-killer, “Hannah”, nevertheless, offers many reasons to love yourself. Cinema captivates at least by the fact that it is not shy to be unlike its blockbuster comrades in the genre – and this “hipster” touch on the canvas seems to be mainstream comic markup has the film very face. Although, what else could be expected from the action movie, which directed the director, previously known mainly for film adaptations of love novels such as Pride and Prejudice or Atonement?
The willingness to be “not like everyone else” runs through everything here. In a genre that ranges from fights in the style of “kill-them-all” to a movie about growing up (with a wonderful family of American hippae in secondary roles). A great soundtrack by the Chemical Brothers. In a set of villains, among which are pedantic business bitch Cate Blanchett and cheerful (pardon me) homosexuals, similar to the melodious vocalist of the band “Rammstein”, which helps a couple of Bonheads. Completes all this charisma Saoirse Ronan - a talented Irish actress who played a major role here.
In general, if you are against a slightly naively stupid plots as such have nothing and the comic style is close to you - feel free to watch Hannah, you will not regret it.
9 out of 10
Joe Wright, a young English director, known for film adaptations of classics of English literature (Atonement, 2007 and Pride & Prejudice, 2005) put a very unusual spy thriller with an unusual super-murderer, a very young 16-year-old girl, whom her father taught to fight, kill, and survive in extreme situations, to be ready for any danger, no matter what image she takes and from wherever she comes. What her father did not teach her is how to live a normal life, have a loving, albeit not entirely prosperous family, friends who can be trusted.
The story takes place these days. 16-year-old Hanna (Saoirse Ronan) grew up in a forest in northern Finland. She doesn’t know what life is like outside a wooden house cut off from the world. She had never seen a phone in her life, heard the sound of music, never communicated with anyone but her father. But she is not afraid of cold and hunger, can easily shoot big game from a bow and has such techniques, against which even professionally trained super-agents can not resist. That’s how she was raised by her father (Eric Bana), a once-recruited CIA Stasi agent and now a recluse who has been planning revenge on his former Langley employers for years, chief among them Marissa Wigler (Kate Blanchett), Eric’s immediate boss in the past. Eric and Marissa once worked together on a super-secret project, and at one point turned into deadly enemies. Trained by her father since infancy, Hannah turns into the perfect killing machine, and one day leaves the snowy desert to complete the mission her father has been preparing for and in the process discover the secrets that shroud her past, including the unsolved mystery of her mother’s death. From this description is a typical action movie, fast, with a lot of murders and moving at a pace that does not allow you to look at the characters or remember them. In this regard, Hannah is an unusual action movie. It is made as an art house and along with such typical action-thrillers as the Jason Bourne trilogy, reminds of Kill Bill, Professional, Nikita, Run, Lola, Run, and most importantly - fairy tales of the Grimm brothers, beautiful and poetic, but often very scary in the original, unadapted for children version. Stanley Kubrick's "Clockwork Orange" also comes to mind whenever the sadistic funnyman Isaacs (Tom Hollander) appears on the screen. The main value of the film, I consider the excellent choice of actresses for two main roles, Saoirse Ronan as Hannah and the best modern in my opinion, acres Kate Blanchett as ruthless Marissa, who stops at nothing to find and destroy Eric and Hannah, and with them the last reminder and results of a mysterious project.
History, in my opinion, is full of inconsistencies and holes, and logic is often absent. But it is made very cinematically attractive. Girl Saoirse/Hannah (already received an Oscar nomination for best supporting role in the film Atonement and perfectly played in the film adaptation of The Lovely Bones / Pretty Bones, promises to become a beautiful actress and stunning beauty in the style of Botticellivian Angels and Primavera. And in her manner of play and appearance, she resembles Kate Blanchett. Making them both movie heroines, antagonists is the best thing that could happen, and a big plus to Joe Wright for using two beautiful actresses in his film.
7 out of 10
Guilt and Pleasure. One of the sweetest combinations, a duo of sensual experiences permeated with viciousness. No sugar substitute can give what wine and pleasure can offer. Tabooing invariably breeds a cult of lust. The very same “lust” implicitly from the general synonymous series “taboo” assimilates “cannot, bad” and is subsequently easily replaced by them.
In addition, communion with the taboo is also a pass into a strictly limited world, which, being selfishly outside the rest of the world, gives its inhabitants an enhanced sense of individuality and uniqueness, often carefully disguised in public.
Blonde Hannah is still very young. The snow-capped fields and forest around the hut provide it with food. A strict but fair father teaches the art of fighting and survival. When he decides that his daughter is ready enough, her path to the truth begins.
“Hannah” can easily be imprisoned in the all-universal cinematic dungeon of Yves Castle, resolutely and categorically condemning the film on all articles: the shameless meekness of the plot in relation to the Borgesian plot typology, “Hannah” fits into it too easily; straightforward presentation of the plot with a run-down parallel editing, which was in price, perhaps, only at the time of its invention by Griffith; the lack of truly bright, individual, provocative visualization; the impossibility of empathetic to anyone from the power of the plot, for the lack of emotional value, for the lack of the lack of the country. It’s a bad enough movie to honestly shut it down and forget it forever.
But the devil is in the details.
It is the details, the fleeting strokes, the individual plans and scenes that have the power and ability to conduct in the realm of forbidden and base pleasure. Of course, stylistic and narrative fragmentation can not benefit the integrity of the perception of the picture, however, to some extent, it is fragmentation that paradoxically normalizes the general chaos within the timekeeping of Hanna.
This becomes possible if we take the absence of direct connections between the elements of the film as a key-code and consciously evaluate each segment of the film only as formally related to the rest - like tracks in a music album. Such a comparison becomes relevant and possible if you remember who created the music for Hannah. Electronic duo The Chemical Brothers through their music and, more importantly, visualizations to music – clips – actualize in intertext their own audio and video narrative language: sequences of rhythmic and tonal phrases, as well as in correspondence with them symbols and images.
So “Khana” from a mediocre adventure action movie evolves into a kind of music video around the “somewhere” plot. Every image and every sketch works on this idea, whether it's dizzying, stroboscopic escape from captivity, incredibly intimate duvet close up, ruthless hand-to-hand combat or a visit to a decadent-surreal children's park. Each episode is set almost perfectly, but their summation reveals a minimal valence in relation to each other - especially this is noticeable thanks to the appearance of the charming family of my sweet Jason Fleming.
Having entered the threshold of neglect and overcome the squeamishness before the "obviously bad" film, entering this taboo territory, widely branded as the patrimony of corruption and bad taste, you can find a strange and curious movie, which on the crest of the wave of subsequent reflection will appear quite different than it seemed at first glance.
I've been waiting for this movie. I’ve always liked Joe Wright’s work, and I thought it would be as good as the others. That's what happened. This picture is really great. But that's not what attracted me. Unusual story - perhaps, yes. I've never seen anything like that. There were women who wanted to avenge the murder of relatives, for example. But for a fifteen-year-old girl soldier to be involved in a similar plot, it is hard to believe, and besides, imagine what it will look like on screen. But it worked out, and it was also very successful.
Plot. Unusual, as I said above. I really liked the beginning of the movie. We were given the image of Hannah on a platter. We see her as a trained warrior, reacting to every rustle, capable of killing, and that’s not all she’s capable of. I also like the fact that we are shown excerpts from different events. We see a cabin in the forest of Hannah and her father, we are transported to the city or to the past. This adds to the mystery of the plot. But there are some disadvantages, in my opinion. If Hannah’s father taught her all martial arts, weapons, etc., if she didn’t know any technology at all, if she didn’t know TV or, say, a computer, then how did she, in one episode, freely go online and search for the information she needed? I don't understand. Like a lot of inconsistencies and trifles. I was also struck by the severity of the girl’s upbringing. Eric, her father, making her an unwavering soldier, wouldn't even let Hannah listen to music. She has only abstract ideas about her.
Music is a combination of sounds that strives for the beauty of form and expresses feelings.
The acting was great. Saoirse Ronan played at a very, very high level. She showed the whole inner world of the heroine, what is it, became her! I believed her every second of the movie and there was nothing to doubt her performance. This curiosity, for everything new, misunderstanding, cruelty - everything was reflected on the face of Saoirse. I think it’s one of the most promising actresses!
Kate Blanchett struck me as much as it did. I didn’t even recognize her at first. She also played a hundred percent role. Her bitchiness, anger, thirst for revenge - everything was real, thanks to her brilliant game.
The only main character who tried the least (so it seemed to me) was Eric Bana. For some reason, I never believed him. There was no emotion on his face at all. Well, what can I say here - did not get used to the role, and that's all.
I can’t help but mention the brilliant musical accompaniment. The Chemical Brothers just geniuses of electronic music wrote just mind-blowing soundtracks. Sometimes I was even distracted from the film - the music was just as wonderful. As always, it was in their style – recognizable, but so “native” what (as for a person who is familiar with this genre).
And as a result, "Hannah." The perfect weapon is quite a good action movie about a teenage girl. I am sure that the unusual plot, music, acting will certainly appeal to film lovers. So, I would not advise to bypass this picture side, because it is worth seeing it at least once.
My assessment:
My decision to go to Hanna came quite spontaneously. It was Thursday night, after a hard day’s work, because I didn’t want to go home for an hour and a half, I decided to go to the movies. In the repertoire of the cinema, "Hannah" was the only film that caused any interest.
In the hall, the lights turn off and after a few seconds the entire screen occupies a red background, the entire area of which is written "HANNAH". Well, quite an intriguing title, worth noting. Well, then begins the film itself, in which the delusions of a stew mare pretty combined with a beautiful visual range.
It would seem that from the story of a teenage girl, which from childhood slowly but progressively father-bastard turned into a perfect killer, you can make a cool action movie with a touch of drama, but ... in the case of Hannah, this assumption works exactly the opposite. This is not an action movie, not a thriller, and certainly not a drama. It's the same thing as the bow.
I am used to the fact that very often Hollywood writers do not bother to follow logic in writing a script, and frankly, I have not paid much attention to this for a long time. However, in “Hann” the level of absurdity is so high that you want – do not want, you have to catch yourself while watching the thought that the whole story is sewn with white threads, which, look, will creep.
The main question, which, however, stems from all the others: what was the point of raising Hannah for 16 years, teaching her the skills of a murderer? From the annotation we can conclude that her father wants revenge on the American intelligence services, and from the film, personally I concluded that the man simply did not have any life goals and desires, so he decided to “kill”. 16 years of "playing coach." If he wanted to take revenge on his former enemies, in particular, the evil aunt Marissa (Kate Blanchett, it seems, there was nothing to do, since she agreed to this second-rate, but, admittedly, interesting role of a cartoon bitch), then over the years the entire CIA could be blown up several times, I’m not talking about Marissa, who is easily killed, because she does not hide anywhere.
All the main action of the picture, which begins the moment Hannah gets into people, develops boring and predictable. Who here wants to shoot who and why, I ceased to be interested almost immediately, so far-fetched it looked, as well as further plot moves. Hannah’s adaptation to “human” life, in particular, her journey with an idiotic family (I would run away from them after the first dinner together, not forgetting to crack the family father’s head for outright impudence) is a rather interesting storyline, which was pretty disfigured by the writer’s hand.
In general, watching "Hannah" is a two-hour spectacle of how actress Saoirse Ronan in the image of an albino hoodlum fights with cool guys under a cool soundtrack and on a cool video series, taking breaks from time to time to talk about life and clarify relationships. "Hannah" is almost authentic to Joe Wright's other work, Pride and Prejudice, the infamous adaptation of Jane Austen's novel. In these films, Wright pays all attention to the visual side and strives to make the scenes colorful, completely forgetting that the main thing on which the film rests is the correct development of the plot. And in this scenario, even the brilliant Cate Blanchett will not help, because one actor is not able to carry the whole film on his shoulders.
5 out of 10
In the arms of the killer The great idea of a trained killer girl going out into the big world when she hasn’t flipped through magazines, watched TV or used cosmetics in her life, and she’s always been followed by death-seeking special agents, can’t be implemented with a PG-13 censorship rating. An action thriller with an abundance of murders, a teenage story of growing up and finding friends, a plot about finding yourself in the big world - each of the plot elements turned out to be too blurred and conditional. Although the film turned out to be good, it does not reveal its own potential at all, and the story told without a colorful visual seems too dreary and dull. And even with the casting everything turned out extremely well - the action hero performed by Eric Bana, coaching the main character, turned out wonderful. Cate Blanchett serves an incredibly nasty and nasty heroine, making a beautiful negative character. Jessica Barden and Jason Fleming a couple anneal in the family scenes of father and daughter, bringing the situation to life with great humor, and Barden also with charm. In principle, she serves absolutely the same heroine as in Tamara Drew (" Irresistible Tamara), and that there was the main highlight in the second roles, that here - the best character, incredibly decorating the picture with his acting pitch. And except that the choice for the main role of the unattractive Saoirse Ronan seems little justified. The combat type doesn't suit her at all, it's definitely not Chloe Moretz or the ambitious Hayley Steinfield. With great difficulty and a sea of conventions, she fits into the skin of her heroine, trying to somehow more or less dignified crush all the enemies who often find themselves, so to speak, in the arms of a murderer. For example, the doppelganger of the main villain is there in the literal sense, ending his life with a broken neck, while others die during the film in other not too diverse ways, but all these acts of violence are categorically lacking in entertainment. And if the corridor running or other scenes of movement, the director tries to emphasize the whirling camera, close-ups and dynamic editing, then the action scenes are simply killed by a twitchy cut that does not really show anything. And it seems that the signature feature on the editing of ultra-long plans was to give a visual highlight to the film, in fact everything turns out to be completely wrong, clearly showing that Edgar Wright is a beautiful action film just can not. Only the magnificent music of the electronic duo “The Chemical Brothers” saves the crooked and unsuccessfully submitted action scenes! Beautiful music blends perfectly into what happens on the screen, whether it’s a chase, a shootout or a fight. Even despite the far from perfect presentation of the scenes themselves, the amazing soundtrack designs them extremely pleasantly, leaving mostly positive impressions from viewing. The plot fits in a couple of simple phrases does not cause due delights not because of its conventions or the abundance of happy accident for each dangerous antics, it can be easily forgiven and justified, but the lack of thoughtfulness of motives causes vivid bewilderment. Flashbacks about the mother, stories about the super-soldier project and some other small details do not fit into the full picture, the mosaics lack a bunch of details and answers to the main questions. The picture does not explain anything, neither goals nor motives, no matter which of the characters it does not concern. And without all this, a good story idea is not at all as interesting and exciting as it could be with a worthy implementation. The multi-ethnicity of venues and representatives of different peoples participating in the action has, unfortunately, not the best influence on the picture. More than a third of the dialogues are conducted in non-English, as if it was so difficult to do international with many different accents. And all these protracted desert landscapes and gypsy dances create a feeling, as if the movie was paid by their representatives with the condition of mandatory fixation on culture and everyday life, instead of plot development. And the director was glad to make some music video clip, using visual lotions without a reason and purpose, while skirting approaching important details for presentation. Well, to mount any action from point A to point B to electronic music, accompanied by the murder of disturbing personalities, Wright succeeded. But to shoot a good action movie - more likely not than yes. It is equally as revealing the subject of super-weapon experiments or the elementary story of a teenage girl’s growing up. A perfect empty, but at least not too boring movie, sustained in still good dynamics, pleasing with the soundtrack and acting presentation of characters. Rating PG-13 once again proved to be a killer of modern cinema, in the wildest way mocking the cruel story about the killer. During the viewing, without the possibility of immersion in this plot due to the incompleteness of the story, then and then catch yourself thinking that looking at the unfortunate scoring Banu waiting for him to turn to the Hulk, just as Fleming would quickly turn from his fetters to Mr. Hyde. Here it is as if all are cut out of other films, collected in a prefabricated hodgepodge without much meaning. But all of the above shortcomings are rather not specific disadvantages of the film, but just not brought to the proper form of its positive qualities. That is, there is a good casting, but many are not at their plate, despite the bright characters. There is not a little action here, but it is shot so that it can put to sleep. There is a vigorous dynamic of actions, but then and then interrupted by completely unnecessary scenes, very much inhibiting the promoted plot. The film throws from one extreme to the other, but does not try to make a coherent story and reveal its potential. Therefore, it is possible and perhaps necessary to watch Hannah, but you should not expect something really impressive. This is a normal one-time movie, with bright pluses and an abundance of flaws. I didn't get it, but it deserves to be seen. 6 IZ 10 Original