In what is certainly a change in both pace and direction for Brit Joe Wright – having previously directed Pride & Prejudice and Atonement – his latest feature is a tense and thrilling drama.

Deep in the wilderness of Finland, Erik (Eric Bana) is devoting his life to raising his daughter Hanna (Saoirse Ronan). This is no normal upbringing for young Hanna, as Erik, a former CIA agent, is training his daughter in the art of survival, any which way. Despite only being a young teen, Hanna is not only one hell of a killing machine but also the ultimate assassin.

This unusual education is in preparation for the day that Hanna finally leaves her remote home in order to begin her one and only assignment: kill the woman who murdered her mother. This is no ordinary woman however; Marissa Wiegler (Cate Blanchett) is a CIA operative with a very cool head when it comes to killing.

When Wiegler is made aware that Hanna is loose, a most deadly cat and mouse chase ensues; the difference being however, that this particular mouse is far from timid.

Since when has wearing a blue shell suit been a crime?! Really? Oh.<

What sets this particular adolescent assassin story apart from other assassin titles is the super-slick direction. At times Wright shoots in such a way that the film wouldn’t look out of place as an installation in an über cool gallery, it’s that arty. Everything from the film’s look to its performances and story rarely go above 3C; it’s at a constant chilled level throughout.

Ronan is yet again on fire (as she was in 2010’s The Lovely Bones), with another top draw performance. She balances the character’s naivety with the world, along with her deadly prowess perfectly. Bana also proves that he can also be a ‘go to’ guy when a little kick-ass action is called for. It’s fellow Aussie Blanchett though who cracks the whip the hardest. Her take on sinister Wiegler is sublime; she hasn’t really played a hardcore baddie before, but she can safely cross that one off of her extensive list. She’d make an awesome wicked witch, that’s for sure, or Bond baddie for that matter.

Despite its edginess, there are some unexpected yet welcome moments of humour. Most are provided by the young Jessica Barden who plays wayward teen Sophie. And then there’s Tom Hollander; there’s a slender chance that he was woefully miscast as camp German killer Isaacs, and yet, much like his turn as Italian Monty Banks in the TV film Gracie!, you just can’t take your eyes off of him.

An honourable mention should also go out to The Chemical Brothers for what will no doubt be the most thumping, pumping soundtrack of the year. Quite an achievement, considering it’s their first for a motion picture feature.

The film just falls short from being the perfect thriller however, with a story that isn’t quite as convincing as it ought to have been. Still, its mix of modern fairytale with some action sequences that would make even Bond look inadequate, are more than enough to keep audiences rooted to their seats.