There is a scene in Hanna, which I wrote about yesterday, that is the point where the movie, frightened of its daring, returns to its technical chase-scene roots. The epicene, workout-suit-clad, Eurotrash henchman who has been pursuing Hanna finally catches up to her and the family who has, unknowingly, been protecting her and, knowingly, nurturing her.
To avoid spoilers I won't say exactly what happens next (surely that that much happens is no surprise at all). But a person from the normal world, our world, the one we actually live in, gets a glimpse into Hanna's world, the "normal" world of the movie, with its operatic intensity. The scene ends almost before it begins, and so seems gratuitous, but I saw the potential of a collision of worldviews, where neither has an obvious advantage: austere dedication versus modern tolerant hedonism, as shown through two engaging characters who have a strong bond with each other.
Ah, well, they didn't do it, so I'm free to.