Later this year you will likely flock to your local movie theater to watch a young man become a super soldier at the height of WWII. This month you can see a somewhat less stylized but no less sensational story about a young girl who was born into a similar life of action and international adventure. Her name is Hanna and she can kill you with your own knife while it’s still in your hand.
Joe Wright (Atonement) directs this well-balanced coming of age story set within the cold and unforgiving world of assassins and espionage. The film follows the titular heroine who has lived a reclusive life in the forest with her rogue CIA-agent father on a vengeful mission that takes her all across the map. Trained to survive in the harshest conditions and fight like the spawn of Lara Croft and Rambo she is pursued by deadly adversaries as she inches closer to her primary target a ruthless CIA handler who had mysterious past dealings with her Dad all while discovering what life outside the woods is like.
While star Saoirse Ronan’s visceral turn is a marvel to observe so too is Wright’s. Like his protagonist he ventures into the unknown with this material taking the reigns of a film that couldn’t be any more foreign to him. Coming off of past projects grounded in romance and realism he forges new territory with Hanna delivering a fresh approach to the at-times tired spy thriller. He presents the major plot points of the story patiently delicately hinting at the big picture and always leaving you pining for more. Though the twist is ultimately predictable the fun part is putting the pieces of the puzzle together on your own. You’ll find more brilliance in his method by dissecting the picture piece by piece. His use of sound in both the film’s abstract score (from the sorely missed Chemical Brothers) and its effects which phase in and out at calculated points is in part a cinematic experiment that plays with perception in ways that audiences may not have experienced in a mainstream movie. There are also a few visual motifs in select scenes (most notably a killer fight sequence that ends with Eric Bana exterminating a handful of Agency henchman) that tell a parallel visual tale to supplement the narrative.
Thematically Hanna is even more complex. Screenwriters Seth Lochhead and David Farr explore the limitations of a disconnected mind in their Black List-certified script giving their curious character the opportunity to learn much about society and her self while hitchhiking across continents. Of greater significance is the culture clash of Western materialism and Eastern minimalism manifested in the form of a British family traveling abroad that Hanna befriends (the young daughter played by Jessica Barden is a poster child for consumerism) and the contrast between Cate Blanchett’s Marissa Wiegler and Bana’s Erik Heller.
Provoking thought while providing plentiful doses of popcorn entertainment the film works on so many levels and is a unique entry in the collective canon of assassin-on-the-run flicks. Its story is far from groundbreaking but Wright’s surreal visuals and anti-establishment attitude make Hanna a radically original action experience.
When eccentric writer/director John Waters made the subversive but colorful Hairspray in 1988—about a plus-sized girl and her dreams to dance as she breaks taboos in the early ‘60s—he probably thought it would be chalked up as another of his cult favorites. But here we are reviewing the latest Hairspray incarnation a movie version of the smash hit Broadway musical based on the 1988 offbeat classic. Funny how things work. The story is pretty much the same: The bubbly Tracy Turnblad (Nikki Blonsky) a big girl with big hair and an even bigger heart wants to dance on Baltimore’s TV dance show The Corny Collins Show. Her mother Edna (Travolta) isn’t too keen on her daughter’s aspirations only because she doesn’t want to see Tracy hurt. But against all odds Tracy wows them on and off the TV screen squashing the reigning princess Amber Von Tussle (Brittany Snow) finding love with the local hunk Link (Zac Efron)—and fighting for racial equality on the hippest dance party on TV. Tracy is the cornerstone to making Hairspray zing—and every actress who has played her has nailed it in her own way. Ricki Lake gave us a good start as the original; Marissa Jaret Winokur won a Tony playing her on Broadway. Now we have brilliant newcomer Nikki Blonsky a former ice cream parlor employee who beat out several hundred girls to win the role. Her happy-go-lucky Tracy quite literally lights up the screen every time she appears and you find yourself grinning like a fool the whole time she is shimmying and shaking. Let’s hope she isn’t just a one-trick pony. The supporting cast is also very appealing. Michelle Pfeiffer who once again gets to use those lovely pipes of hers is perfectly unctuous as Velma Von Tussle Amber’s scheming mother and the TV station manager. Queen Latifah adds her certain joie de vivre as Motormouth Maybelle the host of Corny Collins’ “Negro Day.” Also good are Amanda Bynes as Tracy’s lollypop-eating best friend Penny Pingleton and Elijah Kelley as the groovin’ Seaweed Penny’s forbidden love. The one drawback is Travolta as the oversized Edna. He does a fair job as the caring mom who is reticent to let her daughter go out into the big bad world. We can even see the old Travolta we know and love come alive when Edna dances. But because the actor simply looks so very wrong in latex and lipstick it takes away from the performance. No one can really surpass the late Divine the original Hairspray’s Turnblad matriarch who did it au naturel. Directing a movie like Hairspray is basically a no-brainer and choosing Adam Shankman to helm is as good a choice as anyone else. He is certainly not known for his cinematic genius having directed fluff such as Cheaper by the Dozen 2 and The Pacifier but he understands the bubblegum appeal of a bee-bopping musical. Fueled by catchy tunes from the Broadway show plus a few new ones created just for the movie Shankman orchestrates the big song and dance numbers—of which there are plenty—in such a way to get you moving in your seat every time. He also frames his talent in their more personal character-driven songs with a steady hand. I just wonder what John Waters would have done with it. Maybe a little more dog poop? In any event forget about Chicago and Dreamgirls--Hairspray is the perfect popcorn movie musical that will get everyone dancing and singing the way Grease did a generation ago.