Why is hannah rated r
But American agents capture Hanna and she is detained in an underground facility in the Moroccan desert. A short bloodbath later, the adolescent makes her escape and begins a journey toward her eventual goal. With the young killing machine being pursued by trained assassins at every move, Hanna and those she comes in contact with is in constant danger.
Guns, knives and hand-to-hand combat are unleashed in a variety of scenarios, with death and serious injury left in their path.
These are accompanied by gory details. Even the typically benign action of using a toothbrush turns into a close-up of advanced gingivitis bleeding gums. The excuses for blood effects are only interrupted by a few quieter moments in which Hanna makes friends with Sophie Jessica Barden , a girl who is travelling with her family and offers to stowaway the solitary stranger.
Although the bullets take a breather in these scenes, some sexuality is introduced. Sophie explains she is considering a lesbian lifestyle and her parents are later overheard having sex. At least profanities are infrequent, but there is still a single sexual expletive, a term of Christian deity and a string of scatological outbursts. Unfortunately Hanna follows in the same plot ruts of many proceeding films.
Consequently, any positive messages about survival or looking out for others are assassinated by the graphic violence, which will likely leave parents searching for other alternatives.
Violence: Scenes frequently depict altercations involving guns, blade weapons and hand-to-hand combat. A person shoots into a fast moving car, causing it to crash and killing one occupant. A character is stabbed with a ballpoint pen. While on a date, a girl asks a boy if they should kiss and as he moves closer to her she pulls him to the ground and physically assaults him. A man is killed and is later seen hanging upside down. Animals are eviscerated with a hunting knife. Hanna can speak a variety of language and kill you eight times with her bare hands before you hit the ground in a crumpled heap, but she's never heard music or even met another human being other than her father.
It's with this limited but distinct set of skills that Hanna is sent out into the world to kill Marissa. However, Hanna comes to discover that her upbringing isn't the only thing about her that's abnormal.
On the page, Hanna could have been a fairly forgettable action-revenge flick, but Wright imbues the entire film with a dreamlike sensibility that adds weight to the proceedings.
Everything in the picture is slightly askew and provides immediacy to Hanna's offbeat coming-of-age tale. There's no reason why Ronan and Bana should talk in German accents or why Blanchett should put on such an overbearing Southern drawl, but these slight affectations add up to a film that refuses to exist solely in the realm of reality or fairy tale. Wright understands that if he's going to have Hanna running through an endless series of tunnels in an underground prison that apparently only houses her, then "gritty" realism simply isn't worthy of the story he's trying to tell.
However, Wright never forgets that his picture should also entertain and he devises some truly remarkable fight scenes. Wright lets the physicality of the fisticuffs be perfunctory and efficient as a father-daughter assassins would be , but lets the cinematography, editing, and the score deliver the intensity of the battles. A nude man lies on a gurney with a woman standing in front of him to obstruct his body.
A woman sits on a toilet and her pants slouched at her ankles. A man pounds on the glass door of a morgue, is told to leave and when he returns later he sneaks in and grabs a woman by the neck, they struggle, and a bloody knife falls to the floor; two guards join the scuffle, one guard is cut on the forearm we hear but do not see the cut, and later see the arm wrapped in gauze.
A man grabs a woman and forces her to get a gurney and remove a corpse from a drawer; he insists on taking the corpse to the incinerator that has tall flames as he says, "She's still alive!
A woman in a stairwell finds a man high on a wall and the man turns upside down with his shirt off and his chest covered in blood; she screams and runs away. A corpse grabs a man by the neck and levitates him as he shakes and grimaces; the scene ends with the man falling below the frame as we hear bones crunching. A woman on a rooftop shakes and levitates as a corpse stands in a shadow, grimacing and making gestures to cause the woman to shake and to break her neck, which occurs with a loud crack the woman drops to the floor, dead.
In a background shot, we glimpse a man as he sews up a corpse's shoulder in a morgue. A body bag with a body in it is dragged by something unseen to a point off-screen. A female corpse skitters across floors like an insect, up and down walls, and sits in a ceiling corner, scaring people below who yelp and run in several scenes. A man and a woman argue briefly. A man says his daughter's body disappeared from a mortuary. A man says that a corpse is refreshed every time she kills a person.
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