Anna (Sasha Luss) is a young beautiful girl who managed to make a career in the fashion world. More recently, she was a simple model from Moscow, but in a very short time, she was able to enter the elite. Once she entered the hotel of an influential and very dangerous person, after which a whole mountain of corpses was discovered there. The girl is being interrogated by special services, but she has absolutely nothing to tell them on this fact. She looks scared, and no one su... (Full plot summary below)
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Anna (Sasha Luss) is a young beautiful girl who managed to make a career in the fashion world. More recently, she was a simple model from Moscow, but in a very short time, she was able to enter the elite. Once she entered the hotel of an influential and very dangerous person, after which a whole mountain of corpses was discovered there. The girl is being interrogated by special services, but she has absolutely nothing to tell them on this fact. She looks scared, and no one suspects her. Anna goes free and begins preparing for a new business. Under the guise of a fragile beauty, is hiding the world's most dangerous assassin, who has not yet misfired.
Leave your thoughts about Anna.
| Los Angeles TimesNoel MurrayAs a slick, over-the-top action picture, Anna works splendidly. It features multiple jaw-dropping set-pieces, including a restaurant hit where Anna walks in with an unloaded gun and walks out after killing about a dozen thugs. The plot, while fairly predictable, is at least craftily constructed. On its own merits, this is one rollickingly entertaining film, that under ordinary circumstances Besson fans would adore. |
| The New York TimesBilge EbiriAnna isn’t as stylish or gripping as “Nikita,” but it does have its own demented charm, particularly in how it toys with structure, nesting competing narrative timelines within each other. |
| Rolling StoneDavid FearThis kind of Cold War-a-go-go, deadly-honeypot intrigue is harder to do well than you might think — just ask the folks behind "Red Sparrow." So you appreciate it when someone like Besson can make it move like a pro. |
| Original-CinThom ErnstAnd though Besson does salvage a reasonably entertaining tale, his unapologetic fetish for women who kill gives the movie an icky feeling of having stumbled across someone’s private web browser. |
| IndieWireDavid EhrlichBy the time it’s finally over, the only person more exposed than its star is her director. |
| VarietyPeter DebrugeIt’s nowhere near the embarrassment of Brian De Palma’s “Domino,” or any number of recent studio tentpoles. Nor is it fresh enough to pretend that audiences had missed out on something special if it had been buried altogether — except perhaps for Luss, who’s bound to get another shot. |
| Movie NationRoger MooreThere are a lot of irritants and clumsy touches to Besson’s latest, infuriatingly inferior version of “La Femme Nikita” that ruin it. |
| The GuardianBenjamin LeeAnna is not quite pedestrian but it never really feels like the work of someone with anything to say or prove. It’s competent and even complacent at times, a million miles from what one would expect from the director of The Fifth Element. |
| The A.V. ClubIgnatiy VishnevetskyThink of it as a downmarket Atomic Blonde (a film that does Besson’s established shtick with a lot more panache and less ick) or Red Sparrow without the surface-level professionalism; what’s clear is that Besson doesn’t want anyone to think about Anna very hard. |
| TheWrapWilliam BibbianiBesson’s film feels like a relic by most modern standards: It’s a formulaic thriller from a director who invented this very specific formula, and just about all it’s good for is introducing audiences to Sasha Luss, who carries the film with elegant strength and unleashes a satisfying fury whenever she’s allowed to destroy or humiliate her oppressors. |
