La critique de James Berardinelli (1)

Dark, visceral, and brimming with suspense, Hanna is not the follow-up to Pride & Prejudice and Atonement one might expect from director Joe Wright. Nevertheless, here it is: an intriguing,original thriller that owes as much of a debt to the likes of Frankenstein, the Brothers Grimm, David Lynch, and A Clockwork Orange as to The Professional and The Bourne Identity. Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery. And it also has the advantage of a "clean" ending, meaning that it provides unambiguous answers to the many questions it raises.

Wright prefers that Hanna be known as a drama with action sequences, but such a description shifts the focus away from the restless, relentless pacing. Yes, there are dramatic elements to the story - these are necessary to character development and narrative progression - but the real hook is the mystery surrounding the nature of the title character and the suspense that accompanies her journey from isolation to modern reality. The movie divides its storyline, following the parallel treks of Hanna (Saoirse Ronan) and her father, Erik (Eric Bana), as they infiltrate society separately on their way to a reunion.