Penilai mengatakan bahawa penataan dan gaya Hanna jauh berlepas dari filem tindakan tipikal.[12][13] Menurut laman rasmi laman web, filem ini mempunyai "unsur dongeng gelap yang ditenun menjadi "pengembaraan seram".[7] Joe Wright, pengarah, telah mengatakan bahawa [[Tema (kesusasteraan)] tema filem] adalah "fantasi" tentang "mengatasi sisi gelap" semasa "ritus laluan" pematangan remaja ketika anak mengubah dan "terpaksa pergi ke dunia".[14] Dia berkata bahawa dia dipengaruhi oleh pendedahan peribadi setiap hari ketika dia membesar menjadi "cerita dongeng ganas, gelap, berhati-hati" yang "mempersiapkan anak-anak untuk halangan masa depan di dunia yang lebih luas", serta "cinta yang mendalam terhadap sifat-sifat mistik daripada filem David Lynch", dengan corak naratif yang dia suka kerana disleksia beliau, dan dengan bekerja sebagai anak kepada syarikat boneka ibu bapa mereka.[14]

Dalam satu temu bual dengan Film School Rejects, Wright mengakui David Lynch sebagai pengaruh besar pada Hanna[15] dan juga menunjuk kepada markah The Chemical Brothers ': "Anda boleh mengharapkan skor yang sangat kuat, berdebar-debar, sangat funky yang tidak akan mengecewakan".[15] The music, including The Devil Is In The Beats[16][17] and The Devil Is In The Details,[18] underscores the movie's style,[14] recalling Stanley Kubrick's A Clockwork Orange[19] with musical motifs consistent with Wright's "fairy tale theme"[19] of childhood innocence confronting the modern "synthetic" world.[19] Several reviewers have commented that the movie has a hyper-stylized Kubrickian tone, reminiscent of A Clockwork Orange.[20] The "Kubrick-esque" style[21] includes Isaacs' "gleeful sadism... at times darkly comedic,"[22] a whistling villain reminiscent of Alex DeLarge.[21] Joe Wright's "love of fairy tales and David Lynch movies"[14] was seen as blending A Clockwork Orange [22][23] and the work of the Brothers Grimm.[22][24]

Richard Roeper judged it to be a "surreal fairy tale" with "omnipresent symbolism".[25] Matt Goldberg said it was "an effective and surreal dark fairy tale"... ..."with a dreamlike sensibility... ...Everything in the picture is slightly askew and provides immediacy to Hanna’s offbeat coming-of-age tale... ...a film that refuses to exist solely in the realm of reality or fairy tale... ...'gritty' realism simply isn’t worthy of the story he’s trying to tell."[26] Fairy tale motifs are strewn through the film.[24][27][28] In the "tightly-edited patchwork of visual iconography, allusion and symbolism"[29] Wiegler is equated with the Big Bad Wolf[22][27][28] or the queen in Snow White.[30] "Classic fairy tale movie tropes abound;"[29] for example, the camera spins in obvious circles as Hanna makes her escape from the underground government facility early in the film, "just as the young heroine’s world is spinning out of control."[29] Peter Bradshaw found the fairy tale mythology "unsubtle".[31] Conversely, some reviewers did not comment on the fairy tale elements,[32][33][34][35] and others did so with expressive reservation.[30][36]

Kyle Munkittrick of Discover magazine notes that Hanna is a "transhumanist hero". Despite being genetically engineered to have "high intelligence, muscle mass, and no pity", she is still a good-natured person. He says Hanna "symbolizes the contest between genetics and environment", or, "perhaps more familiarly, nature versus nurture".[37]

Filem ini juga mengandungi rujukan kepada novel Frankenstein . Adegan di mana Hanna memerhatikan keluarga berinteraksi melalui pembukaan kecil di dalam kotak tempat dia menyembunyikan pengalaman Monster ketika dia menyembunyikan di sebuah pondok. Bahawa dia adalah seorang yang dicipta oleh orang-orang yang bermain tuhan adalah kesamaan tema yang menyeluruh.