Hmmm…who knew? That Joe Wright is quite mad, isn’t he?
In his fourth film, Hanna, director Joe Wright shatters all sensible expectations. It’s almost as if this (and not the regally refined Pride & Prejudice) was his first film. Or could this be the first Joe Wright film? Maybe the rest were compromises, and it is here where he throws everything and the kitchen sink at us and begs, “How do you like me now?”
The art-house action film is a rare breed indeed. Luc Besson’s Leon: The Professional and Tom Tykwer’s Run Lola Run are probably the most well-regarded. Hanna, about a teenage girl/uber-assassin out for revenge, will likely join the ranks of those two and in some ways surpasses them.
So in this demented girl-power, Euro-trash, Clockwork Orange-esque, quasi-futuristic, 80’s-retro-ish, techno-club music, beat-boxing kaleidoscope of a film, what does Joe Wright throw at us? Well, I’m glad you asked. Here’s the laundry list of treats (potential spoilers ahead) in store for audiences who take on Hanna: Continue reading