Kraven
The
Hunter
feels
like
a
missed
opportunity,
a
film
that
could
have
offered
a
fresh
take
on
a
complex
character
but
settles
for
mediocrity,
observes
Sonil
Dedhia.
Kraven
The
Hunter
marks
another
attempt
by
Sony
Studios
to
expand
its
Spider-Man
villain
universe
without
Spider-Man.
While
the
concept
centered
around
Sergei
Kravinoff,
better
known
as
Kraven
the
Hunter,
could
have
offered
a
compelling
meditation
on
primal
instincts
and
morality,
the
result
is
a
meandering,
outdated
superhero
origin
story
that
needs
to
be
revised
to
define
its
purpose
or
its
protagonist.
The
film
introduces
Sergei
Kravinoff
(Aaron
Taylor-Johnson)
as
the
son
of
a
Russian
mob
boss
(Russell
Crowe),
who
survives
a
life-threatening
lion
attack
during
a
safari
in
Ghana.
Thanks
to
a
mystical
concoction
of
lion’
s
blood
and
a
botanical
serum,
Sergei
is
resurrected
as
a
superhuman
with
vague
animalistic
powers.
This
origin
story,
riddled
with
laughable
pseudo-science
and
mystical
mumbo
jumbo,
fails
to
establish
Kraven’s
abilities
meaningfully.
The
narrative
quickly
devolves
into
an
uninspired
revenge
story.
Sergei
sets
out
to
eliminate
his
father’s
empire,
with
some
dialogues
like
‘Hunting
people
down
is
kind
of
my
thing.’
However,
his
motivations
remain
frustratingly
unclear.
Is
he
a
predator
enacting
justice
or
simply
a
tool
of
destruction?
The
screenplay,
penned
by
Richard
Wenk,
Art
Marcum,
and
Matt
Holloway,
raises
such
questions
but
never
attempts
to
answer
them.
Instead,
it
spends
time
introducing
secondary
villains
like
The
Rhino
(Alessandro
Nivola)
and
The
Foreigner,
neither
of
whom
add
much
to
the
story.
Director
J
C
Chandor
seems
overwhelmed
by
the
task
of
creating
a
cohesive
narrative.
The
pacing
is
erratic,
with
some
scenes
dragging
endlessly
while
others
feel
rushed.
Chandor’s
loose
directorial
approach
makes
the
film
aimless,
with
key
moments
of
tension
falling
flat
due
to
lack
of
focus.
Visually,
the
film
swings
between
gritty
realism
and
over-the-top
CGI.
While
the
action
sequences
occasionally
land,
showcasing
Kraven’s
feral
combat
style,
they
are
undermined
by
jerky
special
effects.
A
climactic
fistfight
between
Kraven
and
The
Rhino
is
poorly
executed,
eliciting
unintended
laughter
rather
than
excitement.
The
film’s
depiction
of
Kraven’s
supposed
connection
to
nature
is
another
missed
opportunity.
Instead
of
offering
a
meaningful
exploration
of
his
animalistic
powers,
the
film
relies
on
superficial
gimmicks
like
glowing
eyes
and
vague
references
to
animal
instincts.
Even
when
Kraven
interacts
with
animals,
the
interactions
feel
perfunctory
and
lack
emotional
weight.
Aaron
Taylor-Johnson
does
his
best
with
what
he’s
given,
delivering
a
physically
committed
performance.
His
brooding
presence
and
shirtless
intensity
aim
to
evoke
the
primal
spirit
of
Kraven.
But
the
script
gives
him
little
to
work
with
beyond
clichéd
dialogue
and
one-dimensional
emotional
beats.
His
animalistic
powers
—
glowing
eyes,
superhuman
reflexes,
and
the
occasional
ability
to
identify
a
cigarette’s
origin
—
are
poorly
defined
and
inconsistently
applied.
Taylor-Johnson’s
Kraven
often
feels
like
an
amalgamation
of
other
antiheroes
rather
than
a
distinct
character.
He
lacks
the
depth
and
charisma
to
anchor
the
film,
which
instead
leans
heavily
on
his
physicality
to
carry
the
narrative.
His
ability
to
communicate
with
and
harness
the
power
of
animals
sets
him
apart
from
other
Marvel
characters,
offering
a
fresh
perspective
on
what
it
means
to
be
a
‘hunter’.
But
the
film
stops
short
of
fully
delving
into
the
philosophical
implications
of
this
connection,
opting
instead
for
a
more
action-driven
narrative.
Crowe’s
portrayal
of
Sergei’s
mob
boss
father
veers
into
caricature.
Speaking
in
an
exaggerated
Russian
accent
reminiscent
of
a
cartoon
villain,
Crowe
embodies
toxic
masculinity
in
its
most
superficial
form.
From
killing
animals
for
sport
to
dismissing
his
wife’s
suicide
as
a
sign
of
weakness,
Crowe’s
character
is
written
with
such
heavy-handedness
that
he
becomes
unintentionally
comedic.
The
relationship
between
Sergei
and
his
father
is
the
emotional
core
of
the
film
but
its
cartoonish
execution
undercuts
it.
Instead
of
offering
a
nuanced
exploration
of
familial
trauma
and
masculinity,
these
moments
are
reduced
to
melodrama
and
absurdity.
If
Crowe’s
performance
feels
excessive,
Alessandro
Nivola’s
turn
as
The
Rhino
is
downright
baffling.
As
a
human-rhino
hybrid
with
an
inexplicable
penchant
for
overacting,
Nivola
delivers
one
of
the
film’s
most
unintentionally
amusing
performances.
His
character
design,
complete
with
a
cheap-looking
string
backpack,
fails
to
evoke
menace
and
instead
draws
laughter.
Fred
Hechinger,
as
Kraven’s
younger
brother,
and
Ariana
DeBose,
as
his
lawyer-ally
bring
some
credibility
to
the
supporting
cast,
but
their
characters
are
underdeveloped
and
lack
narrative
significance.
The
film’s
attempt
to
introduce
Chameleon
in
its
final
moments
feels
like
a
desperate
setup
for
a
sequel
rather
than
a
meaningful
addition
to
the
story.
At
its
core,
Kraven
The
Hunter
is
a
story
about
identity
and
the
struggle
to
reconcile
humanity
with
primal
instincts.
The
film
touches
on
themes
of
revenge,
legacy,
and
the
destructive
nature
of
power,
mainly
through
Sergei’s
fraught
relationship
with
his
father.
It
looks
compelling
on
paper
but
the
film’s
surface-level
treatment
prevents
them
from
leaving
an
impact.
The
absence
of
Spider-Man
looms
large
over
the
film.
The
story
feels
incomplete
without
the
web-slinger
to
anchor
Kraven’s
motivations
or
provide
a
counterpoint
to
his
philosophy.
Kraven’s
transformation
from
hunter
to
anti-hero
would
have
been
far
more
compelling
if
there
had
been
a
clear
ideological
or
moral
adversary
to
challenge
him.
Kraven
The
Hunter
fails
to
justify
its
existence
in
a
cinematic
landscape
crowded
with
superhero
films.
Its
outdated
approach
to
origin
storytelling,
uneven
pacing,
underwhelming
performances,
and
lack
of
thematic
depth
make
it
a
forgettable
entry
in
Sony’s
Spider-Man
universe.
Aaron
Taylor-Johnson’s
committed
performance
and
a
few
well-choreographed
action
sequences
are
bright
spots
but
are
not
enough
to
salvage
the
film.
Kraven
The
Hunter
feels
like
a
missed
opportunity,
a
film
that
could
have
offered
a
fresh
take
on
a
complex
character
but
settles
for
mediocrity.
For
die-hard
Marvel
fans,
the
film
might
offer
a
few
moments
of
entertainment.
But
for
most
viewers,
it’s
a
frustrating
reminder
that
even
the
most
interesting
villains
need
strong
storytelling
to
shine
genuinely.
Kraven
The
Hunter
Review
Rediff
Rating:
This
reviewer
watched
the
film
in
New
Zealand.
