For me, action films typically provide the same problem that romantic comedies do: finding one that brings something new to the table, which is a nearly impossible task. Throwing a leading woman into the mix tends to go either way; making a child the protagonist often proves futile. “Hanna” is a stylish attempt at making all of these conditions work, and they work in a way that doesn’t overwhelm the story that goes along with them.

The story follows 16-year-old Hanna Heller (Saoirse Ronan), who has lived in the middle of the wilderness in Finland for as long as she can remember. Her father, Erik (Eric Bana), has trained her as an assassin, emphasizing the importance of vigilance, speed and knowledge. He has raised her to live off the land, revealed to her a limited amount of information about the rest of the world and fed her a detailed and false life story to be used later on. She constantly recites, “adapt or die”; this is because she is being prepared to kill CIA agent Marissa Wiegler (Cate Blanchett), who has been after Erik for years after a government experiment went sour.

Once Hanna is ready, Erik gives her the option of flipping the switch on a transmitter that reveals their location to Marissa and the CIA. Hanna does so, and after Erik leaves for Germany, a CIA team finds her and brings her to a safe house in Morocco. From there, it is a matter of whether Hanna’s lethal skills will be enough to see her through the mission she was raised for, especially when the truth of her origin and purpose are called into question.

The thing about “Hanna” that drew the biggest reaction from the audience was the process of her adapting to the outside world. Within the CIA safe house, she navigates halls and dark spaces without hesitation, disposing of anyone in her way with barely any effort at all. It’s only when she moves outward and starts traveling to Germany to meet Erik that she loses some of her momentum. While hitching a ride with a family of tourists, Hanna comes across everything from electricity and music to attraction and betrayal for the first time. In the midst of all of her discovery, it becomes easy to forget that she’s been let loose on a revenge mission.

Saoirse Ronan turns 17 on April 12, and already she’s becoming a masterful young actress. Her performance here brings a heavy dose of realism to such an unusual character. Watching her fly through fight sequences was excellent, but the really fascinating thing was seeing her fill Hanna’s blank slate of experience up with the turbulence and emotion of the outside world.

After helming films like “Atonement” and “Pride and Prejudice,” director Joe Wright had no trouble painting the multitude of worlds seen in “Hanna.” While the story marches on its merrily relentless way, Wright’s slick control over the visuals and atmosphere is a much-needed anchor for viewers.

The most colorful thing about the film is its score, done by electronica legends The Chemical Brothers. The entire set is a healthy mix of thrumming, buzzing beats that underscore action and fluid melodies that blend right into Hanna’s changing surroundings. The effect is perfect, and it makes this soundtrack worth getting on its own, even if you have no interest in the film.

“Hanna,” while pleasing for the eyes and ears, is a story that makes for a very strange revenge thriller that comes across as disjointed here and there. Still, for its few flaws, it’s an entertaining and jarring way to spend two hours at the theater.

Hanna

Runtime: 111 minutes

MPAA Rating: PG-13

Release date: April 8

CW critic’s rating: 3 out of 4 stars

Bottom line: “Hanna” is a visually appealing adventure that can be a bit disjointed at times.