The premise is completely conventional semi-sci-fi material and Joe Wright has tremendous fun with it visually. The strobe effect during the chase through the military base makes one of the best “montages” achieved through lighting since the time-lapse photography sequence of A Zed and Two Noughts. I even got to enjoy another long one-shot that Atonement confirmed as Wright’s trademark.
Hanna’s exuberant style is a welcome relief from the “documentary” self-seriousness of Greengrass’s Bourne sequels. The constant parade of diegetic folk musicians verges on cacophonous, but it effectively forefronts Hanna’s subjective experience and keeps her character in focus. I doubt Soderbergh’s version of this story in Haywire will be as enjoyable.