In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.
There is not a single moment in the new film that is not striking or smartly put together or just plain considered. Wright leaves nothing to chance. I don't know that there's a better way to smother a movie.
"Hanna" is, on a certain level, ridiculous. But the way Mr. Wright conjures his images and parcels out his narrative is hypnotic and so seductive that wherever the film is heading we want to follow.
Because they have nothing to gain from this, logic would dictate that they just stay put, but then the movie couldn't turn into a live-action video game with a preteen piling up bodies like Rambo.
Saoirse Ronan is a talented young actress who tends to be better than the movies she's in. And that tendency holds true with "Hanna," an unsteady thriller that staggers when it should sprint.
It's Ronan who carries the film. She got a best-supporting-actress Oscar nomination for Wright's "Atonement," but here she's asked to do much more, and she nails it.