Review | Hanna – Season 3 (2021)

This is the third act that ends the journey of the long-suffering killing machine called Hanna

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One more story comes to an end and as painful as it may be for some, the series ended well. We can say that everything or almost everything we expected to see in season three has been delivered. the screenwriter David Farr and the director Anca Miruna Lazarescu did a good job, the result of which we can see through the delicate and mature performance of the 21-year-old British girl, Esmé Creed-Miles. In Hanna's final moments, it is in the silence and observation of her protagonist that we see relief from a hard and difficult journey that helped her to mature, but that left many scars and regrets acquired along the way. The third and final season of six episodes on Amazon Prime Video which arrived on the last 24th of November, ended with a golden key.

Read too Review | Hanna - Season 1 (2019)

Before I praise all the post-production and acting, I must point out the negative points that could have been avoided in this electrifying outcome. From the beginning, we knew that Hanna, the series that adapts the eponymous feature from 2011, didn't have much to be inventive in terms of narrative and, maybe, that's why it's a great idea to close it now in this third season. Initially, it was surprising to know that the sequence would have only 06 episodes different from the previous ones, which include 08 each. Due to the errors that dragged on since the first season and that were not remedied but mitigated, this last and third season ends a production with quality as more sequels could lose focus and make the "whole" compromised.

Now, in a deeper way, Farr is more concise in the narrative that delves a little more into the “Utrax mystery”, but with the introduction of the talented and scary Ray Liotta as Gordon Evan/Director – the powerful boss of the Utrax organization and the abusive father of Marissa Wiegler, played by Mireille Enos, which creates a strangely interesting dynamic in the plot and conversely is a good subplot parallel to the drama experienced by Hanna, with Esme Creed-Miles having her best performance of the entire saga. Something that we can say has become a cliché throughout the entire saga, is the "lazy" twists, because knowing that the secret leader of Utrax, the Director, is Marissa's father is not one of the most interesting and intelligent ideas that the script develops , but it works as part of the gear giving gas so that the story ends satisfactorily.

Prime Video: Hanna - Season 3
The journey of the killing machine called Hanna comes to an end / Amazon Prime Video Playback

The final season's goal is the return of Hanna, with the dubious help of John Carmichael, to Utrax, with the objective of destroying the organization from within, hindering the murders of possible young subversives who are on a list generated from exposed data and captured on the internet by the organization's analysts. With no time to waste, the cadets are sent to their homicidal missions in several countries where they will have to carry out their missions and Hanna along with Marissa try to prevent the deaths. Here, John Carmichael's help is something we see a lot on the fence, he's thrown around so it's clear he's not good and he's acting out of his own survival instincts, but the script could have taken advantage of better this character who has a background that could have been used more cunningly. However, the highlight goes to the performance of the character Terri Miller (Cherrelle Skeete), who wakes up at the right time and also tries to help in this ambitious endeavor that Hanna and Marissa are trying to achieve.

The biggest shit starts when the script decides that Hanna needs to fall in love with her target – it happened instantly, as if it were pastel-, Abbas Nazir (Adam Bessa) to the point of not only saving him, but also stupidly visiting him in his hiding place, giving Utrax a chance to turn its attention to the girl who was showing signs of being a problem. These facilities of the script in part create levels of complexity to the organization's operations, but it doesn't develop, it doesn't give shape and we realize that the script only plays and leaves in the superficial. Another thing that shouldn't be a cliché are the tense moments. If we pay attention from the beginning of the saga, all the moments of distress and danger involving Hanna are resolved with simple objects like a plastic fork or a hair clip. This makes the script lazy, because every time a complication arises, it resolves, and like magic everything is resolved.

However, not everything is negative. Despite the mistakes that were repeated over the three seasons, this last sequence is dynamic enough that we can shrug off the stumbling blocks and focus on action scenes that are well choreographed and well done. Something that helps is the fact that it has only 06 episodes of standard length, besides, of course, the objective of Hanna and Marissa is no longer the investigation but, rather, to end the entire secret organization that has a base in Berlin. Now, the plot is dealt with honestly with the viewer making them want to watch until the end – except when the dramatic dramas fall by parachute like the forced infatuation between Hanna and Abbas and the troubled and bizarre father-daughter relationship, Marissa and Gordon appear to torment the viewer. However, something that heralds the real end is Hanna's return to her “initial” habitat, that is, in a forest in Germany that reminds us of the opening episodes of the first season, where she was raised by Erik and where it was expected not to have gone out. 

Hanna review: Season 3 can't break free of action-thriller tropes
A love-hate relationship between Hanna and Marissa / Reproduction Amazon Prime Video

Between the lines, we identify Farr's affection for Hanna, the character and the series, it's obvious and understandable. He was the one who created this fictional universe more than a decade ago, when he wrote the first version of what would become the 2011 feature film Hanna, directed by Joe Wright as a mix of fairy tale and action. When reborn in a TV product, Far was able to tell the story Hanna had to have: a very stylish badass agent on the outside, but with an inside awash with suffering and full of doubts about what it's like to be human in the 21st century. Despite her young age, Hanna matured and showed what she came for.

Here the lukewarm suspense is cast aside and the efficient brutality of the electrifying action scenes reigns with prominence and prowess. In Europe, the landscape and tourist sites give way to an unpopular Europe. Everything here is deserted or too cold, as if this environment were inhospitable for human beings to experience. Here the trio of directors, Lazarescu hip, Sacha Polak and Weronika Tofilska, imagines and recreates Hanna's universe in a different way, making room for something more intrinsic and characteristic of the character, such as her observant, almost poetic, sensibility, even in the midst of the violence that sometimes explodes on the screen. Here we realize that the goal is to portray Hanna as a person who suffers the effects of an existence ruled by violence in a system of artificial power and affection and how each character interacts and reflects this impact on the narrative.

Positive point for the soundtrack that I knew was not predictable and very interesting. The special effects are in keeping with what was offered onscreen from the start. Esmé and Mireille's performances are amazing, they managed to transform the hate relationship from the beginning into something deeper and even truer in this third and final season. Ray Liotta did a great job – he can be super scary- with a timing Perfect. And luckily, with two episodes short of the standard, David Farr does exactly what he set out to do, ending a narrative in a satisfying way. The plot may have taken a long time to come to life, but its surprising ending wasn't even a minute late.

Read too Criticism | Hanna - season 2 (2020)

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Thunder Wave review
critique-hanna-season-3-2021This third season is the final chapter in Hanna's life, it's almost like her entering adulthood. For someone who has been taught to fight and resist, we see that behind all this brutality and savagery, it awakens a stronger, more decisive, mature woman who will do everything for the long-awaited beginning. Here, Farr says goodbye to his universe, to his creation, to a project that took more than a decade to finally be born, grow and finish brilliantly. If you follow the wave of "revivals"... you can be sure I'll see it with love. After all, a production with women in the best badass style is an unmissable entertainment.

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