Well Sucker Punch was a stupid movie. They were wearing skimpy clothing that was borderline slutty. Everything in Hanna is the opposite of Sucker Punch, I agree with Joe.
Hanna was pretty cool. Joe Wright did a very good job of mixing a coming of age movie, with an action-thriller (that also has many allusions to fairy tales). The action is pretty good, aside from a few times of weird angles and quick edits. There's a long take fight in the subway by Bana that was really impressive. This movie makes me wish The Chemical Brothers did more scores.
Well Sucker Punch was a stupid movie. They were wearing skimpy clothing that was borderline slutty. Everything in Hanna is the opposite of Sucker Punch, I agree with Joe.
What's funny about that is a picture can never be "objectifying". Only the viewer can make an objectification, thus Joe Wright was objectifying the girls on the Sucker Punch poster.
Well Sucker Punch was a stupid movie. They were wearing skimpy clothing that was borderline slutty. Everything in Hanna is the opposite of Sucker Punch, I agree with Joe.
And he's entitled to his opinion, but there's only one reason to make the heroine of his movie a teenaged girl and it was the same reason Zach Snyder picked young women for his movie. Now Snyder took it a lot farther of course but Hanna isnt Atonement either.
Hanna was pretty cool. Joe Wright did a very good job of mixing a coming of age movie, with an action-thriller (that also has many allusions to fairy tales). The action is pretty good, aside from a few times of weird angles and quick edits. There's a long take fight in the subway by Bana that was really impressive. This movie makes me wish The Chemical Brothers did more scores.
I felt quite the opposite. I hated the Carnival music.
I'll see this but not sure I need to see it in a theater.
I was a little perplexed by Joe Wright's comment about Sucker Punch in Movieline though.
"So for me, when I look at the poster for Sucker Punch it seems actually incredibly sexist, because it is sexually objectifying women regardless of if they can shoot you or not."
Not saying he's wrong but if I was pushing a movie about a teenage girl who was trained to be an assassin I might lay low on that one.
Snyder has always known for sexualizing his female characters, what's new?
I just saw Hanna last night too. It was just good, nothing amazing. I don't understand all the critics saying how the director knows how to film an action scene. There were quick cuts all over this film which were the same type of quick cuts that are usually criticized. Eric Bana was great though - he needs to be in more action movies. The best filmed action scene when he takes down a bunch of agents in the Berlin tunnel.
This blond girl actress is still pretty intriguing.
I would give it a B.
The TRON LEGACY score by DAFT PUNK is still 100 times better than the score by CHEMICAL BROTHERS in HANNAH. I used to love Chemical Brothers in their prime, but not their later stuff. It's great seeing movies scored by these cool types of bands though. I can't wait for APHEX TWIN or RATATAT to score a movie.
I just saw Hanna last night too. It was just good, nothing amazing. I don't understand all the critics saying how the director knows how to film an action scene. There were quick cuts all over this film which were the same type of quick cuts that are usually criticized. Eric Bana was great though - he needs to be in more action movies. The best filmed action scene when he takes down a bunch of agents in the Berlin tunnel.
This blond girl actress is still pretty intriguing.
I would give it a B.
The TRON LEGACY score by DAFT PUNK is still 100 times better than the score by CHEMICAL BROTHERS in HANNAH. I used to love Chemical Brothers in their prime, but not their later stuff. It's great seeing movies scored by these cool types of bands though. I can't wait for APHEX TWIN or RATATAT to score a movie.
Wow, I felt just the opposite. I loved the way the action scenes were cut. I only wish
[Show spoiler]Eric Bana's fight scene at the end, in the park, had been a little bit longer.
I also think that Saoirse Ronan was amazing in this movie. I think she will be around for a while.
As far as the score, I have been a Chemical Brothers fan for a long time and absolutely loved the score. The music in the shipping dock was perfect for that scene.
I just saw Hanna last night too. It was just good, nothing amazing. I don't understand all the critics saying how the director knows how to film an action scene. There were quick cuts all over this film which were the same type of quick cuts that are usually criticized. Eric Bana was great though - he needs to be in more action movies. The best filmed action scene when he takes down a bunch of agents in the Berlin tunnel.
This blond girl actress is still pretty intriguing.
I would give it a B.
The TRON LEGACY score by DAFT PUNK is still 100 times better than the score by CHEMICAL BROTHERS in HANNAH. I used to love Chemical Brothers in their prime, but not their later stuff. It's great seeing movies scored by these cool types of bands though. I can't wait for APHEX TWIN or RATATAT to score a movie.
So you prefer Daft Punk's conventional, cliche score where they hardly utilize in their talents over a score where Chemical Brothers are being original and have given the movie a unique sound? the soundtrack for Hanna gets better with repeat listenings.
Though he established himself with two posh British literary adaptations, Pride & Prejudice and Atonement, Joe Wright's directorial style has never been, shall we say, Merchant-Ivory-esque. He's a striking, boisterous stylist. Each detail in a Joe Wright film, either large (the inclusion of extended and complicated tracking shots) or relatively small (say, the font used for subtitles), seems considered and deliberate, and designed to either disorient or inspire awe in viewers. He is capable of achieving perfection. He can also be his own worst enemy.
Consider the stunning, yet flawed Atonement, the Ian McEwan-derived film I have now seen several times and still grapple with. Wright, with his insinuating camera and impeccable eye for design and spaces, brought the claustrophobic, old-world estate of the first act to vivid life, yet a number of the later, WWII-centric scenes--for example, the one where James McAvoy's character happens upon row after row of murdered schoolgirls in the forest--felt too gorgeous, too "cinematic." High style, muted impact. By his fairly mediocre third feature, The Soloist, it was clear Wright was a talented director in serious need of a change of pace. The film's visual and aural extravagance and its actual characters and themes seemed to exist on different planes.
Hanna is the change of pace. The title character is portrayed by Wright's greatest find, teenage actress Saoirse Ronan, Oscar nominated for Atonement and last seen in Peter Weir's The Way Back. The film begins with Hanna hunting a reindeer in the frozen wilderness of Finland. She moves with purpose and stealth. She shoots the animal with a bow and arrow and then pursues it. She finds it lying on the ground, bleeding, dying. "I just missed your heart," she says, pulling her handgun, aiming it at the deer/camera, and pulling the trigger. What a perfect opening sequence, and I am envious of those few who see this film with no prior knowledge of its storyline. I can only imagine the questions racing through their heads after such a blunt, violent, nearly silent opening, centered on a clearly lethal young woman.
Those who have seen the film's ad campaign know more. Hanna lives in the forest with Erik (Eric Bana), her survivalist father. Their existence is minimal, but her training is extensive. He has taught her several languages (including Arabic, French, and Spanish), hand-to-hand combat, etc. Their shared motto is "adapt or die." Father and daughter have a mysterious connection to a super-malevolent CIA agent named Marissa Wiegler (Cate Blanchett), whom it seems they must destroy before they can ever live in peace. The film kicks into high gear once this mission begins. Hanna and Erik part ways, planning to reunite in Berlin once Hanna has assassinated Marissa. So begins a global game of cat-and-mouse, which also comes to involve a sadistic blond-haired thug (Tom Hollander) and a family of innocent British hippies (played by Olivia Williams, Jason Flemyng, and Jessica Barden) Hanna meets and briefly joins.
Imagine a post-LSD take on the Bourne trilogy by way of Lewis Carroll and Stanley Kubrick; your mind might be approaching the Hanna experience. By attempting and mastering an action movie, Wright has found a more than suitable outlet for his ever-anxious visual inventiveness. Set to an atmospheric, throbbing score by British electronic duo the Chemical Brothers, the action sequences are enthralling, fast-paced, and distinct, and shot and cut with utter precision. There is always a strong sense of geography in the action sequences. Person A is here, person B is there, there is this much distance between them, etc. This type of graceful violence recalls vintage John Woo more than the Michael Bay school of shooting (hand-held) and editing (to pieces) action sequences. Of course, considering the director, there's a mind-blowing tracking shot at the heart of the movie, following Bana's Erik as he exits a bus, travels through a terminal, goes down an escalator, and then has an extended fistfight with several henchmen.
This movie really wasn't on my radar to see in the theater but a friend wanted to see it. I saw the movie Saturday and really liked it. Will be picking this up when it comes out.
So you prefer Daft Punk's conventional, cliche score where they hardly utilize in their talents over a score where Chemical Brothers are being original and have given the movie a unique sound? the soundtrack for Hanna gets better with repeat listenings.
Everyone's taste is different. But I wouldn't call Daft Punk conventional or cliche - I have never heard that their music be called that. Is it because the score in Tron is catchy (catchy aka conventional/cliche)? I liked Chemical Brother's score in Hanna - it's just that everyone has recently been bringing up cool bands scoring movies, and I just prefered Daft Punk's score...
Everyone's taste is different. But I wouldn't call Daft Punk conventional or cliche - I have never heard that their music be called that. Is it because the score in Tron is catchy (catchy aka conventional/cliche)? I liked Chemical Brother's score in Hanna - it's just that everyone has recently been bringing up cool bands scoring movies, and I just prefered Daft Punk's score...
No not at all. First of all, the score is hardly their type of music, the true gems of that album are their songs but everything else is the traditional epic movie soundtrack, something Hans Zimmer would be careful. It had no identity to it, it worked well for the film but it could have been so much more seeing the force behind it.
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