Joe Wright is trying to make a different kind of action movie with Hanna, and yes I'm running the risk of falling for a trailer and being disappointed. There's just something about overqualified actors in a genre movie...
Even though he admires Paul Greengrass’s “Bourne” films — and used the fight choreographer, Jeff Imada, who worked on them — Mr. Wright wanted to avoid the shaky tumult and fast cuts of Mr. Greengrass’s widely imitated technique. Mr. Wright strove instead to find what he called “economical expressions of action.”
In his estimation the most effective action set piece of recent years is from the 2003 Korean film “Oldboy”: a tracking shot down a long corridor that unfolds without a single cut. Mr. Wright also cited the master of the samurai epic, Akira Kurosawa, who quickened pulses through precise composition and montage long before the advent of digital technology, and the distilled style of Robert Bresson, who in “Pickpocket” (1959) staged a sequence of thieves working a train station as a stealthy, elaborate dance.
Given his fondness for the long take, choreography is a central aspect of Mr. Wright’s films. The centerpiece of “Atonement” is a five-minute Steadicam shot of the evacuation from Dunkirk. In “Hanna” Mr. Bana’s big brawl, in an underground train station, is captured in a single snaking shot, and Ms. Ronan’s most complicated fight, in a container yard, was also filmed in extended takes.
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