Reading through the scene-by-scene breakdown, I'm reminded of what a terrific movie Hanna is. The conceit itself - young girl trained to be an assassin - is compelling. Combine that with her the object of a hunt to destroy her and her own innocence to experience journey, and it's really something else. A few initial observations: * It's a long first act, only ending when Hanna escapes into the Moroccan desert (33). Back in the day, that was plenty fine, but nowadays per 'conventional wisdom,' that's an awfully long time to keep the viewer from kicking into Act Two. Yet I think it works. We need to get a clear sense of Hanna's Old World in order to grasp the central story conceit as well as provide a context for the significance of the telephonic message to Marissa. * Such a skillful job in Act II balancing out action scenes and interaction / exposition scenes. * Plus excellent work cross-cutting between Hanna and Marissa, knowing all along they will intersect. * Several small moments with Hanna where we get a glimpse of her innocent, youthful self, each of which helps to cement our connection to her. * This is a classic Hero's Journey, in this case a Heroine's Journey, the contrast between her Old World and New World a stark one. * Also a classic example of Disunity: Young Girl / Assassin. Disconnect from knowledge of her true identity. Disconnect from any sense of her own adolescent / sexual self. Finally a word or two about the compressed time frame. I love to write these type of movies because it's so easy to maintain a sense of pace, that continual go-go-go. I can already see where the major plot points lie. How about you? Post in tomorrow's comments.