Hanna (Saoirse Ronan) lives with her father Erik (Eric Bana) in a cabin in the woods in Finland. There, he trains her to hunt, hide, kill, fight and survive, and at night he reads to her from the encyclopedia. There are no luxuries, no electricity, and when she asks what music sounds like, he doesn't sing to her -- he reads her the definition. Clearly, there's still a lot for her to learn, but all she needs to know is how to kill, so when he thinks she's learned all that she can learn from him, he retrieves a radio transmitter from a buried oil drum, and tells her that if she activates it, "they" will come, and she will be able to get to Marissa Viegler (Cate Blanchett). We later find out why they want Viegler dead, aside from the fact that Blanchett plays her as a cold, dental hygiene-obsessed bureaucrat in an unknown spy organization, but in the meantime Hanna and her father go their separate ways, and the story follows them as they both work their way across Europe to a town in Germany.

The story dips lightly into science fiction -- Hanna is far too good at what she does to be homegrown -- but that's hardly touched on, and for the most part it's a coming-of-age story, as Hanna discovers music, electricity, friendship, boys and family, meeting a vanful of British tourists (parented by a free-spirited Olivia Williams and Jason Flemyng) in Morocco and traveling with them for a while. Ronan is scary and funny as the naive war machine (when a boy tries to kiss her, she accidentally throws him to the ground), and so is Blanchett, as she ties up loose ends and sweet-talks people she still has use for in her warm Southern accent. Bana might have made a great James Bond, judging by his relentless fight scenes, and Tom Hollander is the world's most delightful Bond villain as Isaacs, an understatedly ruthless operative dispatched by Viegler to find Hanna after she escapes.

The last main character in the movie is the soundtrack, provided by electronic pioneers the Chemical Brothers. Whenever a tense situation develops, you feel it in your chest, because the bass kicks in and sends shockwaves through your body, and there are a lot of tense moments, as both Hanna and Erik have to fend off enemy agents along the way. Foot chases and brutal fist fights abound, as does a lot of fairy-tale imagery, with the climax occurring at an abandoned Grimm's Fairy Tales amusement park (hereby dubbed the Creepiest Place on Earth). To Hanna, who on the surface looks like Little Red Riding Hood, and who isn't even aware that she's on her way to Grandma's house, the real world is definitely populated by big, bad wolves, but the joke's on them, because she's a pretty nasty wolf herself.

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