Hanna, available on Amazon Prime Video, is a story about a child of a secret government program in Europe that is rescued by a man claiming to be her father, where he raises her deep in a Polish forest for 15 years until the authorities catch up with them.

She and her father are then on the run and the season weaves through a cat-and-mouse game with assassins, black op agencies, and the regular people they meet along the way.

Hanna has a lot of potential, but is painfully deliberate in its pacing, as it tries to combine a high-concept child assassin vibe with a coming-of-age story (mixing too few kill-or-be-killed fight sequences and “I can’t believe you slept with the boy I liked” scenes, both we equal parts gravitas).

Besides that, nearly every episode has long moments where Hanna, who rarely speaks, is looking out of a window, staring out at the world she is only now beginning to understand.

Not the most visually stunning choice.

Fortunately, the last two episodes make up for some of its story telling sins, but not all of them.

I’m an impatient thriller fan and I have to admit I skipped ahead a lot in this eight episode series, moving past the build up to obvious plot points and through where Hanna is in the throes of contemplative moments of self discovery.

Also, please give the girl a hair cut. For a character who doesn’t say a lot, the eyes, which are the most expressive part of an actor’s face, become that much more important. Yet, they were often hidden behind her long, unkempt hair.

I probably wasn’t the target audience for this story, so take what I say with that in mind. Yet, some story telling flaws are universally problematic.

For me, Hanna had too many for my liking, but, if they make another season, it has enough potential that I’ll check it out to see if the filmmakers have gotten out of their own way.