"Hanna" doesn't quite hit the mark

A caribou bounds through snowy forest, pursued by a figure clad in furs. An arrow whizzes through the air. The caribou crumples to the ground. The figure pulls its scarf down, revealing the wide-eyed face of a young girl. "I just missed your heart," she murmurs, and pulls out her gun.

Meet Hanna, the heroine and namesake of director Joe Wright's latest film and bold first foray into the action genre. At once a thriller, a mystery, and a unique coming-of-age tale, "Hanna"follows the journey of a sixteen-year-old assassin on her perilous mission across Europe. We first meet Hanna (Saiorse Ronan) and her father, ex-CIA man Erik (Eric Bana), in the wild tundra of Finland. It becomes clear that Hanna is no ordinary teenager. Here, Erik schools his daughter with encyclopedias and trains her in the art of combat. He grooms her into the perfect assassin. Once released into the world, Hanna soon discovers the secrets of her past and questions the nature of her humanity.

"Hanna"shines in its direction and cinematography. Joe Wright ("Pride & Prejudice," "Atonement") lends an artful flare to his directing. Many shots evoke striking images, often heavy with symbolism and thematic significance: Hanna sprawled out on the snow beside a disemboweled caribou, or the villain emerging from the gaping maw of a fiberglass wolf. Often the characters' simplest actions speak louder than words. Much is said about the father/daughter relationship in an embrace; we better understand intelligence operative Marissa (Cate Blanchett) when she brushes her gums until they bleed.

Saiorse Ronan ("Atonement," "The Lovely Bones") gives a stunning, nuanced performance as a young assassin experiencing the world for the first time. She conveys the perfect mixture of innocence and "wildness" required for her character. Cate Blanchett ("The Curious Case of Benjamin Button," "Robin Hood") is fearsome and unforgettable in the role of the ruthless Marissa. As the father, Erik, Eric Bana ("Star Trek," "The Time Traveler's Wife") is less satisfactory. Lack of emotion leaves his potentially complex character stoic and inaccessible. Not to be ignored are the splendid performances of Tom Hollander as the creepy CIA operative Isaacs, and Jessica Varden as Sophie, Hanna's first real friend.

Hanna's story is a story of the hunt. Throughout her journey, the line between hunter and hunted blurs. Despite its unique aspects, "Hanna"is still very much a chase film. At times it takes on the standard tropes of the genre. Chases are set to a mesmeric but repetitive score of electronic beats by The Chemical Brothers. Some chase scenes seem too drawn out, and a few action scenes resort to the typical device of slow motion. These scenes come across as gratuitous and somewhat cheap when set against the few poignant moments of the film. Writers Seth Lochhead and David Farr's best efforts show less in the thrills and more in the scenes that are beautifully, painfully human.

Cinematographer Alwin H. Kuchler elevates "Hanna"to the level of true art. He introduces us to settings ranging from the stark white plains of Finland, to the vast rocky deserts of Morocco, to a dilapidated Berlin amusement park. Sterile environments are painted with splashes of bright color. The film's breathtaking and vivid scenery adds a bleak air of enchantment to Hanna's harrowing journey.

Fraught with gripping action, vibrant settings, and tender pathos, "Hanna"makes for an overall worthwhile viewing experience. It is a grim fairy tale that just barely misses its heart.

"Hanna"is now available for purchase on DVD and Blu-ray.