Posts Tagged ‘Hanna’

DP/30: Hanna, actor Saoirse Ronan

Monday, November 7th, 2011

The Weekend Report — May 1

Sunday, May 1st, 2011

Weekend Estimates: April 29-May 1, 2011

Title Distributor Gross (average) % chng Theaters Cume
Fast Five Uni 83.1 (22,810) NEW 3644 83.1
Rio Fox 14.5 (3,900) -45% 3707 103.7
Madea’s Big Happy Family Lionsgate 10.0 (4,370) -60% 2288 41
Water for Elephants Fox 9.2 (3,270) -45% 2820 32.4
Prom BV 4.8 (1,770) NEW 2730 4.8
Hoodwinked Too! Weinstein Co. 4.1 (1,650) NEW 2505 4.1
Soul Surfer Sony 3.3 (1,650) -39% 2010 33.8
Insidious Film District 5.3 (2,530) -21% 1584 45.62
Hop Uni 2.5 (790) -79% 3176 105.2
Source Code Summit 2.5 (1,530) -51% 1645 48.9
African Cats BV 2.3 (1,900) -61% 1224 10.6
Scream 4 Weinstein Co. 2.2 (1,000) -68% 2221 35.5
Hanna Focus 2.2 (1,410) -58% 1564 35.9
Limitless Relativity 1.1 (1,300) -59% 838 76.1
The Conspirator Roadside Attractions 1.0 (1,480) -53% 691 8.7
Arthur WB 1.0 (810) -75% 1251 31.7
The Lincoln Lawyer Lionsgate .85 (1,180) -53% 719 54.9
Dylan Dog: Dead of Night FreeStyle .74 (850) 875 0.74
Win Win Fox Searchlight .67 (2,220) -40% 302 7.6
Your Highness Uni .61 (1,520) -84% 402 21.1
Jane Eyre Focus .52 (1,770) -30% 294 8.7
The Adjustment Bureau Uni .51 (1,840) 106% 277 61.7
Atlas Shrugged: Part 1 Rocky Mountain .41 (1,110) -53% 371 3.9
Weekend Total ($500,000+ Films) $150.50
% Change (Last Year) 54%
% Change (Last Week) 15%
Also debuting/expanding
Cave of Forgotten Dreams IFC .14 (27,440) 5 0.14
The Greatest Movie Ever Sold Sony Classics 95,600 (2,660) -19% 36 0.25
In a Better World Sony Classics 76,700 (1,870) 5% 41 0.4
Incendies Sony Classics 69,800 (6,980) 38% 10 0.14
Nenu Naa Rakshasi Great India 45,300 (2,660) 17 0.05
13 Assassins Magnolia 40,100 (10,020) 4 0.04
Chalo Dilli Eros 38,400 (1,370) 28 0.04
Exporting Raymond IDP 35,200 (2,710) 13 0.04
Vaanam Big Cinemas 26,600 (2,960) 9 0.03
The Robber Kino 14,100 (2,8200 5 0.01
Sympathy for Delicious Maya 8,600 (4,300) 2 0.01
Lebanon, Pa. Truly Indie 7,300 (3,650) 2 0.01
That’s What I Am IDP 6,600 (6600 10 0.01
Earthwork Shadow 3,200 (3,200) 1 0.01
The Arbor Strand 1,600 (1,600) 1 0.01

Domestic Market Share: January 1 – April 21, 2011

Distributor (releases) Gross Market Share
Paramount (9) 418.5 15.20%
Sony (11) 403.7 14.70%
Universal (9) 354.7 12.90%
Warner Bros. (16) 314.1 11.40%
Buena Vista (7) 263.5 9.60%
Fox (8) 235.4 8.60%
Weinstein co. (5) 165.9 6.10%
Relativity (4) 105.9 3.90%
Fox Searchlight (5) 87.9 3.20%
Lionsgate (80 85.3 3.10%
Focus (4) 60.7 2.20%
CBS (3) 57.2 2.10%
Summit (4) 57.1 2.10%
FilmDistrict (1) 44 1.60%
eOne/Seville (10) 15.3 0.60%
Roadside Attractions (6) 13.7 0.50%
Sony Classics (8) 13.6 0.50%
Other * (109) 47.1 1.70%
2743.6 100.00%
* none greater than 0.4%

HANNA-Inspired Comic Art

Monday, April 25th, 2011

Focus Features sends illos along: “The artistic blending of action, mystery, innocence and coming of age in Hanna inspired the Illustration Project. Focus Features set out to find three talented artists internationally who could capture the spirit of the characters and bring them to life in their own mediums. Working with exclusive clips, photo stills and the film’s original score by the Chemical Brothers, the artists created and illustrated Hanna’s world through their eyes. The artists Jock, Aaron Minier and Alan Brooks were given little to no direction when they took on this assignment—only materials. This is their art, and their vision, of Hanna.” [Above, Brooks; below, three by Jock. Click twice for larger images. Also: two stills from Hanna illustrating Wright’s comics-ish visual style


Chemical Bros. Like Making Mood With Soundtracks Like Hanna’s

Monday, April 18th, 2011

Chemical Bros. Like Making Mood With Soundtracks Like Hanna

Box Office Hell — April 15

Saturday, April 16th, 2011

Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
Scream 4 |40.4|25.0|13.0|38.0|n/a
Arthur |6.8|6.1|6.0|n/a|n/a
Soul Surfer|6.7|6.8|n/a|7.0|n/a
The Conspirator|2.0|n/a|n/a|n/a|n/a

Joe Wright Dissects A Scene From Hanna

Tuesday, April 12th, 2011

Joe Wright Dissects A Scene From Hanna

The Weekend Report: April 10, 2011

Sunday, April 10th, 2011

The Best That You Can Do is …

Audiences continued to Hop to it as the animated Easter eggs-travaganza topped weekend tickets sales with an eggs-timated $21.6 million. The film bounded well ahead of a quarter of new national releases that saw the remake of Arthur and the distaff thriller Hanna competing for the second slot with the former squeaking ahead by about 200k with a $12.5 million tally. The inspirational Soul Surfer bowed to $10.9 million and the tongue-in-cheek swashbuckler Your Highness swiped $9.5 million.

Among the new niche releases were the non-fiction nature study Born to Be Wild with $820,000 from 206 cages (194 in 3D) and the Mexican comedy No Eres Tu, Soy Yo that grossed $530,000 at 226 venues. Bollywood entry Thank You failed to revivify that sector with a $253,000 bow from 92 engagements.

Exclusives this weekend saw a couple of glimmers of hope including the minimalist western Meek’s Cut Off with $19,800 at two screens. Solo outings for docs Blank City on Manhattan’s early Punk scene and American: The Bill Hicks Story profiling the late comic genius respectively rang up $10,600 and $6,400 in ducats.

The frame’s overall tally generated roughly $118 million and slipped 5% behind last weekend’s biz. It was a slightly more severe 7% lag from 2010 when the second weekend of Clash of the Titans led with $26.6 million; edging out the $25.2 million gross for newcomer Date Night.

Hopes weren’t particularly high for any of the quartet of newcomers with Arthur given the best prospects that ranged from $12 million to $18 million. Your Highness was also overestimated with pundits pegging its bow somewhere between $11 million to $15 million. Conversely the mavens viewed Hanna’s topmost performance at $10 million with similar expectations for Soul Surfer that proved to be accurate.

Hanna’s strength largely came from unexpected response from males that composed slightly more than half of its audience. Soul Surfer drew a resounding 80% female crowd and was the only one of the four new films that had a majority under 25 demographic with 56%. Arthur was 64% older, Your Highness was 55% dominated by plus 25s and Hanna was at the high end with 69%.

The shift so far this year to an older set of ticket buyers has largely been cited as a reflection of weak product though one can hardly imagine what aspect of such films as Sucker Punch or Drive Angry could possibly draw a mature buyer to the multiplex. The industry mantra is that younger male avids will be back in force come May when the summer tentpole fun rides are unleashed.

What appears to have stumped the pundits is what exactly are these bulwarks of movie going doing during this apparent hiatus? No one appears to have done surveys that might indicate whether a trend exists or if there’s an absence of a conclusive shift to other activities. Regardless, no one believes this segment is staying at home and exercising their fast food options. So, clearly the new VoD initiatives are directed toward them and their involvement in the movie experience remains vital to the industry’s health and welfare.

Weekend (estimates)
April 8 – 10, 2011
Title Distributor Gross (avg) % chng Theaters Cume
Hop Uni 21.6 (5,980) -42% 3616 68.1
Arthur WB 12.5 (3,810) NEW 3276 12.5
Hanna Focus 12.3 (4,850) NEW 2535 12.3
Soul Surfer Sony 10.9 (4,910) NEW 2214 10.9
Insidious Film District 9.8 (4,060) -26% 2419 27.2
Your Highness Uni 9.5 (3,420) NEW 2769 9.5
Source Code Summit 9.0 (3,040) -39% 2971 28.6
Limitless Relativity 5.6 (2,130) -40% 2642 64.3
Diary of a Wimpy Kid: Rodrick Rules! Fox 4.9 (1,690) -52% 2881 45.5
The Lincoln Lawyer Lions Gate 4.4 (1,830) -35% 2420 46.3
Rango Par 2.3 (1,140) -49% 2007 117.5
Sucker Punch WB 2.1 (1,180) -66% 1755 33.9
Paul Uni 1.7 (1,040) -59% 1667 35.1
Battle: Los Angeles Sony 1.5 (1,090) -57% 1408 81.2
Jane Eyre Focus 1.2 (4,780) -3% 247 5.2
Win Win Fox Searchlight 1.2 (5,220) 4% 226 3.5
The Adjustment Bureau Uni .88 (1,120) -59% 783 60.1
Born to Be Wild WB .82 (3,980) NEW 206 0.82
The King’s Speech Weinstein Co. .55 (810) -52% 675 137.6
No Eres Tu, Soy Yo Lions Gate .53 (2340) NEW 226 0.53
Red Riding Hood WB .52 (670) -71% 777 36.7
Weekend Total
($500,000+ Films)
% Change (Last Year) -7%
% Change (Last Week) -5%
Also debuting/expanding
Thank You UTV .25 (2,750) 92 0.25
Kill the Irishman Anchor Bay 91,600 (1,760) -19% 52 0.85
Miral Weinstein Co. 55,700 (1,920) -24% 29 0.25
In a Better World Sony Classics 48,600 (4,050) 47% 12 0.1
Meek’s Cut Off Osciloscope 19,800 (9,900) 2 0.02
Blank City FilmsWeLike 10,600 (10,600) 1 0.01
Meet Monica Velour Anchor Bay 7,300 (3,650) 2 0.01
Ceremony Magnolia 6,800 (2,270) 3 0.01
Henry’s Crime Moving Pictures 6,600 (3,300) 2 0.01
American: The Bill Hicks Story Variance 6,400 (6,400) 1 0.01
To Die Like a Man Strand 2,150 (2,150) 1 0.01
Domestic Market Share (Jan. 1 – April 7, 2011)
Distributor (releases) Gross Market Share
Paramount (9) 413.6 18.20%
Sony (10) 370.9 16.30%
Universal (8) 276.1 12.10%
Warner Bros. (14) 273.6 12.00%
Buena Vista (6) 255.2 11.20%
Weinstein Co. (4) 133.4 5.90%
Fox (6) 127.6 5.60%
Relativity (4) 90.5 4.00%
Fox Searchlight (4) 82.9 3.70%
CBS (3) 56.6 2.50%
Lions Gate (6) 47.5 2.10%
summit (4) 31.8 1.40%
Focus (3) 25.1 1.10%
FilmDistrict (1) 17.4 0.80%
eOne/Seville (7) 14.5 0.60%
Sony Classics (6) 12.3 0.50%
Other * (99) 44.3 2.00%
2273.3 100.00%
* none greater than 0.4%
Top Domestic Grossers *
(Jan. 1 – April 7, 2011)
Title Distributor Gross
The King’s Speech * Weinstein Co. 119,361,676
Rango Par 115,230,893
Just Go With It Sony 101,651,979
True Grit * Par 100,131,192
The Green Hornet Sony 98,588,503
Gnomeo and Juliet BV/eOne 97,075,887
Battle: Los Angeles Sony 79,700,377
Justin Bieber: Never Say Never Par 72,707,468
No Strings Attached Par 70,662,220
Black Swan * Fox Searchlight 65,964,914
Little Fockers * Uni 64,117,440
Unknown WB 62,821,544
The Adjustment Bureau Uni 59,231,700
Limitless Relativity 58,688,230
The Fighter * Par/Alliance 54,624,687
Tron: Legacy * BV 54,483,200
I Am Number 4 BV 53,949,381
The Dilemma Uni 48,800,147
Hop Uni 46,456,305
Hall Pass WB 44,034,990
* does not include 2010 box office

Weekend Estimates by Soul Klady

Sunday, April 10th, 2011

And this is why weekend-to-weekend looks so crappy. Last year on “this” weekend, there were $27m in openers. This weekend, $46m. But the weekend is still well behind last year because Sucker Punch was WB’s entry, not Clash of the Titans, and there was no DWA film (last year, it was a leggy Dragon) doing $25m in a third weekend while Hop, which is a success story (but a mild one), did $21m in Weekend Two. Those two holdovers and one $25m opener (Date Night) overpower nearly $20m in more opening firepower this year than last.

If you simply flipped last year’s WB entry for this year’s, “this year’s weekend” would be ahead of “last year’s weekend” by over $15 million. And if wishes were fishes… But you get the point, no? It’s about the movies, not the market. Until there is a much longer lasting set of data that involves a more muscular set of movies being off by similar amounts, I’m not taking any “slump” seriously. Of course, if you want to believe that somehow Clash of the Titans would have done half the business it did if it opened this year or that Sucker Punch would have done more than double what it’s doing opening last year, please, feel free to make the argument.

One genre that may be nearing its end in this cycle as an industry cash cow is the stoned comedy. Since the Superbad/Knocked Up back-to-back smashes, Team Apatow has racked up just one $100m movie (Step Brothers) in 8 attempts. And while Apatow had nothing to do with the two movies gently opening this weekend (Arthur/Your Highness), they are both bastard children of his camp. Like many niche genres in Hollywood, no reason that this one can’t go on. But costs have to be contained and then these are the kinds of legged-out doubles that studios can use to keep the balance sheet positive build library, an occasionally get a surprise big hit. But right now, they are a little expensive and aren’t delivering on the expectations that the studios have when greenlighting them. (Expectations from tracking come long after the horse is out of the barn.)

Hanna is a really nice opening for Focus. They picked up the film in most of the world (Sony has some territories), extending their relationship with Joe Wright, and this opening is better than any two weekends of Atonement domestic grosses combined. Given some strong word-of-mouth (and a soft market for good movies), it could even end up passing Atonement‘s $50m gross.

Bob Berney is back in business. Soul Surfer is a Sony release, but Film District marketed it for Sony, and the results are strong for what could well have been a much smaller feel-good film. And Insidious had a 26% hold, which is almost unheard of for any film in this front-loaded market, much less a horror film. This is one of this year’s real success stories already, likely heading to more than $50m domestic.

Source Code didn’t hold quite as well, but it does seem that we are in the first stretch of commercial movies this year that anyone is happy to recommend.

Box Office Hell — April 8

Friday, April 8th, 2011

Our Players|Coming Soon|Box Office Prophets|Box Office Guru|EW|Box Office . com
Arthur |15.3|18.1|13.0|18.0|17.0
Your Highness|12.4|13.3|11.0|15.0|11.5
Soul Surfer|10.0|10.1|10.0|n/a|10.5

Critics Roundup — April 8

Friday, April 8th, 2011

Soul Surfer|||||Yellow
Your Highness|||Red||Yellow
Meek’s Cutoff (limited)|Yellow||Green|Green|
Kati with an I (NY)|||Green||
American: The Bill Hicks Story (NY)|||Green||
Henry’s Crime (NY)|||Green||
To Die Like a Man (NY)|||Green||

Wilmington on Movies: Hanna

Thursday, April 7th, 2011

(Three and a Half Stars)
U.K.-U.S.: Joe Wright, 2011

Hanna, an action film for people who love action movies and also for some who don’t, is Kick-Ass and The Bourne Identity filtered through Pride and Prejudice. And I don’t mean that as a knock.

Director Joe Wright, who made the 2005 Keira Knightley version of Jane Austen’s best-loved novel, and also the BAFTA-winning 2007 film of Ian McEwan’s grim Atonement, is a director with a style both flashy and sumptuous, snazzy and arty. And, in Hanna, he‘s demonstrating something we wouldn’t quite have expected from him: rock ‘em, sock‘, burn-down-the-house and kick-your-way-loose action movie skills.

The movie — which stars Saoirse Ronan (who was the magnificent jealous little girl in Wright’s Atonement) as the kick-ass title heroine, hard-fisted Hanna, Eric Bana as her action mentor home-schooling dad Erik, and Cate Blanchett as Marissa, the vicious C.I.A. agent villainess — is such a departure from what Wright has done before, including perhaps the dramatic work he did on British series TV before Pride and Prejudice (The Last Kings), that it’s hard not to be impressed with this movie on pure technical and pure career levels. Impressed not only with Wright, but with Ronan and Blanchett as well. (After all Eric Bana is an ex-“Hulk,” but we’re more used to seeing acting princess Ronan simmering with repressed passion or fleeing from killers, and acting queen Blanchett Elizabeth-ing or Kate Hepburning it up.)

Wright starts out this radical departure from his previous work — and this radical feminist departure from most other action movies — with the kind of scene that would have passed for a big action set-piece in one of Wright’s earlier period films: a crisp, white snowy deer hunt and kill in the wilds of Finland, where the gifted 16-year-old Hanna, trained in all manner of martial arts and assassin skills in the wilderness by her extreme home-schooling dad Erik, brings down a stag and philosophically muses.

Then, it keeps escalating into spectacular brawls, one-take one-against-a-bunch subway battles, and bloody and bloodier showdowns. (Stunt coordinator and fight choreographer Jeff Imada has done great stuff with the three leads, especially the seeming non-fighters Blanchett and Ronan.) And the story moves her with dizzying speed to the Moroccan desert, the sex clubs (the famous Safari) of Hamburg, and the streets, subways and abandoned amusement parks (the Spree Park) of Berlin.

It’s quite a ride. The whole movie is a long three-sided chase: Hanna is captured early on by Marissa when Erik leaves her on her own, arranging to rendezvous with her later in Berlin. Then she escapes, and her captor Marissa pursues both her and Erik, who’s also racing to rejoin Hanna.

The fights are all set-pieces, and they feel like set-pieces. Wright shoots one of them in a virtuosic unbroken long Steadicam camera take, which reminds you irresistibly of the spectacular unbroken tracking shot on Dunkirk Beach in Atonement. And he turns another action scene into a sharp-edged maze of parked trucks and sadistic stalking.

The three lead actors — along with Tom Hollander as a delightfully perverse villain Isaacs, Olivia Williams, Jason Flemyng and Jessica Barden as a delightfully unlikely British family Hanna meets in the desert on the way — have the kind of acting chops you don’t usually see in movies like this, and they display them as much as they can, as much as Seth Lochhead and David Farr’s script lets them.

All the characters, in fact, have more fullness, personality and surprises than the action movie norm. They’re reminiscent at times of the more psychologically detailed or richly eccentric lead and secondary characters in an old style British thriller by Powell & Pressburger or Alfred Hitchcock, or a classy American or international thriller by John Huston or Orson Welles (or by the expatriate Hitch).

We haven’t had many literate thrillers lately (The “Bourne” movies excepted, of course), and it’s a non-guilty pleasure to see one here, to see filmmakers who are trying to please us on a multitude of levels and not just trying to smash us out of our seats and blow us out of the back of the theatre — filmmakers who want to give us, as they do here, explosive action, fairytale romance and grim suspense, solid character and exciting adventure, good acting and writing, exotic locales and splashy technique, and both visual beauty and visual shock.

The results are usually drop-dead gorgeous and exciting, but not necessarily, completely satisfying — at least to me. What we’d expect from Wright — memorable characters and high-style high drama — are here, but not emphasized as much as the story sometimes needs, to make total sense. The action scenes are scorchers, and they’re shot beautifully by cinematographer Alwin Kuchler (of Lynne Ramsay’s Ratcatcher) on stunning sites and sets by designer Sarah Greenwood. (Greenwood’s interrogation chamber below the Moroccan desert is an homage to Ken Adam‘s great War Room set in Dr. Strangelove.) But I thought they became a little too set-piecey at times, took over the show a little too much.

Modern action movies often try to blast you out of your seat from first scene to last, sometimes never leaving you a moment to catch your breath. In a movie like Sucker Punch or Battle: Los Angeles, even the breathers are shot rammo-blammo, so they explode in your face. But a great action scene in a really great action movie — from the chase across the salt flats in John Ford’s Stagecoach to the finals fugal climax of Christopher Nolan‘s Inception — works on both an emotionally dramatic level and a viscerally physical one. That’s what makes Hanna a special movie, and well worth seeing, but also sets up a bill that it doesn’t always fill.

Saoirse Ronan, like the 13-year-old Natalie Portman in her first film, Luc Besson‘s The Professional (1994) — not as good a film, by the way, as this one — has a natural talent for bewitching the camera and for suggesting levels and levels of thought and memory and passion beneath even a silent surface. Ronan is kind of strong and silent in Hanna, which makes her more mysterious and deepens the film‘s mysteries, including any nagging little questions we might have about the relationship among Hanna, Marissa and Erik, and the others. That ability to hold the screen with quietude is just as important for a first-class actor as the ability to make your lines always sound spontaneous and real and full of meaning. Ronan seems to have it all instinctively.

Just as Cate Blanchett does. I wouldn’t call this one of Blanchett’s best performances, though it will probably be seen by more people than usual and even though the villain parts in movies like this are usually the juiciest roles. Wright says he wanted in Blanchett’s Marissa a personality mixture of one of his grade school teachers, a wicked witch and George W. Bush. (I didn’t catch the Bushisms, but Blanchett does get a slight Texas accent.) Marissa is nasty and cold, and she also suggests something disturbingly human beneath the snaky, icy, mean-bitch facade.

Anyway, any opportunity to see Blanchett act is a treat to relish — even if her villainy here is slightly upstaged by Hollander, as a slimy smiling, immoralist cutthroat with lousy fashion sense, on Marissa’s payroll.

I’d like to strike a slightly discordant note here, though. And I don’t mean it as a knock. (Really.) Kick-Ass was just a comedy/fantasy, but Hanna is a movie with some serious intentions, and it’s intended at least partly as a fable of empowerment for women. Maybe it is. But though the movie is entertaining, I wonder if it’s that empowering, to women, to see a slam-bang movie she-assassin whose body is a lethal weapon and who can kick the shit out of everybody, or if they really want to take her as their personal heroine and role-model.

I realize that it’s all just an archetypal fantasy and a mythic entertainment. But I’m not so sure we should almost automatically, as part of a large, even overwhelming movie trend, shove the apostles of peace out of most of our pop myths and celebrate almost nothing but fireworks, wham-bam and rock-‘em-sock-‘em in many of our biggest movies. I’m not knocking all action movies either; I like, or love,  good ones too. (Take that, you bastards!)

But the women who are heroines to me (not counting, for the moment, women in the military or the police) are the ones who suffered and persevered and triumphed, in small and big ways, in fields like art and science and education and medicine and sports and politics, and even in just raising good families and being good mothers (or good friends), without tearing someone’s throat out or kicking the crap out of some bad guy. If I bumped into a real-life Hanna, of which there may be a few, sort of, I’d salute. But I wouldn‘t necessarily fall in love. Maybe.

I know. That’s far afield. In the end, this is just an action movie. And a damned good one. Forget I said anything.

As for Joe Wright, he seems to have approached this movie as a good student, sopping up all the movie influences that would help him, ignoring the ones that can’t. In a way, Hanna is like a good student project — and once again, I don’t mean that as a knock. Wright is definitely a solid professional, and so was that great director-student of Hollywood genre pictures, Howard Hawks.

Whatever Hanna’s financial success though, I doubt that Wright intends a career in action movies, doubt that he plans on eventually working himself up (or down) to Bruce Willis, Sylvester Stallone and a recharged Arnold Schwarzenegger, or to Vin Diesel — or, closer to home and perhaps more plausibly, turning Daniel Day Lewis, Ralph Fiennes, Colin Firth and even Anthony Hopkins into kick-butt action heroes. (Day-Lewis as Plastic Man? Hopkins as The Shadow?) Or further empowering actresses like Meryl Streep and Natalie Portman and Hilary Swank. But Wright definitely hit the brass bell here.

So, now that he’s shown us he can blast us all out of seats, I’d like to see Joe Wright do something ambitious and novelistic again, but more epic. Maybe something by Dickens or Thackeray or Eliot, or something more modern. And with roles for people and artists like Cate Blanchett and Saoirse Ronan. The actors, the actresses. My heroes.

Hanna’s Start As A Vancouver Film School Final Project

Thursday, April 7th, 2011

Hanna‘s Start As A Vancouver Film School Final Project

Lim On Whether Hanna Is An “Original Heroine”

Monday, April 4th, 2011

Lim On Whether Hanna Is An “Original Heroine”

It’s Bourne-Again Saoirse In Hanna

Monday, April 4th, 2011

It’s Bourne-Again Saoirse In Hanna

Hanna Gets Her Poster

Tuesday, January 25th, 2011

Hanna’s Trailer

Saturday, January 15th, 2011