A spy thriller set across Europe centers around a young woman—referred to as Hanna—and her former CIA father (Eric Bana), who has been training her for survival amidst dangerous government operatives. Situated in the snowy landscapes of northern Finland, the story follows Hanna’s introduction to the wider world, where she finds herself relentlessly pursued from North Africa to Germany by Marissa (Cate Blanchett), a mysterious intelligence agent and her team. What stands out most about "Hanna" (2011) is its originality, visual flair, and the beautiful locations it showcases. It's high-quality filmmaking with a distinctive, energetic, and unusual tone, complemented by an excellent musical score; it’s comparable to films like “Lucy” (2014) and Quentin Tarantino's "Kill Bill" (2003/2004). While not a masterpiece due to a lack of substantial depth or thought-provoking elements, the film possesses flashes of brilliance and is generally enjoyable. The narrative reveals Marissa’s intense focus on Hanna for reasons that remain unclear; this preoccupation proves to be her weakness despite her expertise as an agent. On a deeper level, the movie functions as a clear metaphor for a child's transition into adulthood and the challenges faced by parents who prepare their children for life—teaching them essential skills, granting them independence, and being honest about the harsh realities of existence. It also presents itself as a kind of fairytale concerning the bond between a father and daughter. Later in the film Marissa asks Erik, "Why now?" and he simply replies, "Kids grow up." I appreciated the contrast presented by the everyday lives of ordinary people compared to the agents’ ruthless efficiency. If you find the fight sequences occasionally awkward, perhaps try raising a child for eighteen years before watching it again and reconsidering your opinion. The film is frequently exciting, but those expecting a straightforward action movie might be let down. There are minor aspects that feel underdeveloped, such as the scenes involving an RV family sparking Hanna’s interest in life outside her isolated upbringing. This felt like a deliberate attempt to evoke sympathy for her situation—highlighting how different she was from other children while also emphasizing her specialness and excitement in the eyes of her father and brother. While using someone as a plot device isn't particularly new, I still found this approach appealing. The film has a running time of 1 hour, 51 minutes and was filmed in Finland, Morocco, and primarily Germany. GRADE: B+

Source on TMDB