Last year’s Oscar Stand-off between The King’s Speech and The Social Network was acted as a practical coronation for David Fincher as a God to the film critics and fanboys of the world. After almost twenty years working as a director, he’s delivered gritty classics like Fight Club and Seven – films that have garnered the die-hard support of a Cult Classic, while accumulating mainstream acceptance that takes him from the Underground to almost being a household name.
When a hospital worker (Gilles Lellouche) saves a comatose patient (Roschdy Zem) whose life support had been tampered with he gets more than he bargained for. His pregnant wife (Elena Anaya) is kidnapped, and he’s ordered by the man responsible to get the patient out of the hospital or he will never see his wife again.
Two cops (Gérard Lanvin, Mireille Perrier) work the case from opposite angles, and as it turns out cross purposes, as the truth about the night the gunshot victim was wounded comes out and leaves our hapless nurse’s aide in even more trouble than he thought.
Without knowing who to trust, framed for a crime he didn’t commit, frantically searching for his wife, and on the run from the police, Samuel finds his world turned upside down when the only man he can trust is the killer he sprung from the hospital and the partner of the man who kidnapped his wife.
The most immediately shocking thing about Hanna might be the movies that preceded it in director Joe Wright’s filmography. The young filmmaker’s other three films have been Pride & Predjudice, Atonement and The Soloist – all three have a varnished, classic feel to them; and though Atonement played with some technique, they all felt like they could have been Harvey Weinstein’s horse in the Oscar race any given year. Just look at their plots – one is based on a classic english novel, another is about teaching a man with mental disabilities how to function in the world while examining his troubled past.
On the other hand, Hanna is about a teenage girl who was trained by a secret-agent father to murder.
We’ve been holding on to this for awhile, and it seems like it’s time to share. Anyone who has ever wanted to see an army of Communist Chinese perform Michael Jackson’s “Thriller” (and let’s face it, who hasn’t?), this one’s for you.
Oh my god oh my god oh my god oh my god oh my god. Oh my god oh my god oh my god oh my god oh my god oh my god oh my god. Oh my god oh my god. Oh my god oh my god oh my god oh my god. Oh my god oh my god oh my god oh my god oh my god oh my god. Oh my god, Christopher Nolan’s latest, Inception, is a preposterously successful film that does about a million different things totally right. And it may well come to be known as the film that established Nolan as a truly remarkable filmmaker. [click to continue…]