La critique de James Berardinelli (2)

Hanna has spent most of her life in the inhospitable wilds of Finland, learning from her father how to become an elite assassin. His teaching methods are unforgiving and Hanna's training has been harsh. Now, however, with half her teen years behind her, she decides that she is ready to enter society. Her first mission is to infiltrate a secure U.S. government installation in Europe and kill Marissa Wiegler (Cate Blanchett), the woman responsible for Hanna's mother's death. Meanwhile, Eric heads south so he can reunite with Hanna in Berlin once "the witch is dead." The plan goes much as expected, except the "Marissa" Hanna encounters is an imposter. After escaping the secure location where she is taken for interrogation, Hanna becomes the prey in a cat-and-mouse game with the real Marissa, who is stalking (and being stalked by) Erik.

Wright's visual mastery is in evidence throughout Hanna. Although he limits his flourishes (there are no long tracking shots to match the one in Atonement, which some viewers and critics found to be self-indulgent), the film looks great. Shots are carefully composed and never haphazard. Some of the early scenes in the snow are breathtaking and the clarity with which the action scenes are framed (especially the ones in which Hanna escapes from her captors and Erik faces off against four opponents in a columned "arena") remind the viewer of the value of a stable (rather than spastic) camera.