Highly trained multilingual assassin – check
Secret CIA programme shut down but with loose ends to be tidied up – check
Someone stabbed in the neck with a pen – check
A blonde girl whose mother was murdered by the central players in the conspiracy– check
And the list could go on (and on). In the years since the Bourne Trilogy (2002-7), many movies have responded (that is, plagiarised) it – from the Bond franchise through the execrable “The International” to this latest faded photocopy “Hanna”.
Hanna is essentially a surrealist take on the Bourne myth (of the uber-competent assassin in search of Identity.) Throw in a girl perched right on the boundary of childhood and womanhood, Cate Blanchett chewing scenery as the wicked stepmother/big bad wolf, and some ham-fisted Grimm’s Fairly Tale schtick and voila; two long hours of dream(like) sequences that often look good but mean little.
If I weren’t such a lazyass, I could I suppose do the whole Joseph Campbell/Hero with a Thousand Faces analysis on this… But butterflies and wheels/you’re dead a long time.
None of the actors is blame-worthy; all turn in good performances. Some of the cinematography is excellent. But it’s a self-indulgent mess, striving for Meaning and Art. To be avoided by anyone with a functioning bullshit detector.