Although Marvel Studios has decided to slow down the number of films they release annually, 2024 was certainly a prime time for the Sony Spider-Man Universe. With Madame Web in February, Venom: The Last Dance in October, and Kraven the Hunter in December, audiences might feel overwhelmed rather than pleased. Since the inception of this universe focusing on Spider-Man’s villains—but notably absent of the web-slinger himself—the quality has rarely met expectations. Films like Venom 1, 2, 3, Morbius, and Madame Web have all failed to impress. A brief glimmer of hope came with the initial trailer for Kraven, which hinted at a mature, gritty, and violent film, aiming for an R-rating in the United States. However, this promise quickly dissipated. The film’s violence seemed toned down, crucial scenes were censored, and the character was not faithfully portrayed. That said, contrary to some American critiques, Kraven isn’t the worst film in the Sony Spider-Man Universe; it ranks among the better ones. However, given the generally low standard of this cinematic collection, calling it mediocre is still a fair assessment.
In the eyes of American reviewers, Kraven is perceived as an inferior movie compared to the three Venom installments. On the Rotten Tomatoes platform, Kraven holds a score of 16%, slightly surpassing Morbius and Madame Web, yet falling short of any Venom movie’s ratings. While cinema is an inherently subjective form of art, unlike video games, it’s puzzling when American press crowns Venom 2 as the top film in the Sony Spider-Man Universe with a mere 58% average rating. Trust me, Kraven is far from being the worst villain movie in this universe; it stands out as one of the more satisfactory ones. Caution should be exercised, however, as we’re still dealing with a flawed work, an unattractive viewing experience punctuated by low-quality visual effects. Yet, amidst the chain of disappointments, Kraven the Hunter emerges as one of the less catastrophic options than expected.
R-RATED
It was no easy feat, as the film was initially slated for January 2023, only to be postponed by two years. Director JC Chandor resorted to imploring audiences to give his film a chance, while Sony Pictures unveiled the first eight minutes on YouTube in a last-ditch effort, indicating internal chaos. As the film flounders at the box office during its opening weekend, doubts arise over Kraven’s prospects. Despite nobler intentions compared to other Sony Spider-Man Universe films—including targeting an adult audience with the requisite violence for an R-rating, making it unsuitable for children like Venom—the film ultimately underwhelms. It aimed to capture a niche audience through authenticity, yet even its marketed violence felt diluted.
YES MAN
Interestingly, Sony Pictures didn’t hire just anyone for direction; JC Chandor, known for works like Triple Frontier in 2019 and particularly A Most Violent Year, was brought on board. Chandor, with a reputation for dissecting the murky intersections of capitalism and crime in his urban western, is no novice. However, as is often the case in superhero films, producers retain the final cut, with Avi Arad, head of Sony’s Spider-Man Universe, calling the shots. Arad’s interest in game-to-film adaptations is apparent, as seen with Uncharted and Borderlands. A suggestion for Arad: consult studios like Insomniac Games, who deeply comprehend Spider-Man’s essence and create faithful yet innovative adaptations. Their approach in Spider-Man 2 demonstrates they hold the key to success. Sony must cease treating audiences merely as spectators; delivering well-narrated stories with respect for characters will resonate with fans.
TOO YOUNG, TOO BEAUTIFUL
Even though Aaron Taylor Johnson puts in maximum effort to deliver a robust portrayal of Kraven the Hunter, casting him was a misstep. Out of the many bankable actors in Hollywood, Sony opted for someone previously known as Quicksilver in the MCU. Additionally, the relentless pursuit of younger characters should be abandoned. We don’t yearn for a 28-year-old Kraven who resembles a runway model, flashing well-defined abs. Instead, we seek a seasoned, burly figure resembling a bear in his presence. Despite Taylor Johnson’s dedication, he grapples with a poorly written character, forced into an ill-fitting direction—prone animalistic running, an eco-friendly ally to animals—completely divergent from the comic-book persona. While creative liberties in adapting comic narratives are welcome, maintaining a core level of authenticity is crucial.
Contrary to the comics, where Kraven battles the world’s deadliest beasts to craft his hunter’s garb, the film’s version becomes unhinged over his father slaying the lion poised to devour him. This starkly contradicts the character’s essence, deviating entirely from his established lore.
CAST AWAY
In essence, Kraven isn’t depicted as an emerging super-villain, but rather an anti-hero endeavoring to do good, an intrinsic flaw of the film. A Kraven with a moral compass, in harmony with nature, directly opposes his comic-book roots. We neither need nor want an origin story swallowed up by 20-minute-long flashbacks of Kraven and his brother Dimitri’s adolescence. As DC effectively illustrated with the Penguin character, it’s essential to avoid sanitizing villains by turning them into sentient good guys. Furthermore, Aaron Taylor Johnson isn’t alone in feeling miscast. Ariana DeBose’s portrayal of Calypso veers off course, undermined by a role that shows no compelling evolution. From a New York lawyer to an archery expert due to past scouting experience, the film dismisses any meaningful character development towards its finale.
Likewise, Rhino’s tired progression—part trauma-driven nerd turned vengeance-seeking adversary—parallels Jamie Foxx’s Electro from The Amazing Spider-Man 2. It’s a cliché outcome, rendered even more frustratingly unappealing visually.
On a separate note, the Chameleon character, portrayed by Fred Hechinger, suffers less from his performance but more from his portrayal’s writing. Having played the irksome Emperor Caracalla in Gladiator 2, Hechinger might risk typecasting, although he possesses real potential. Meanwhile, Russell Crowe, continuing to hamper his career with questionable projects and uninspired roles, doesn’t find redemption in Kraven. Playing Kraven’s father, Nikolai Kravinoff—a hard-nosed mafia oligarch demanding survival of the fittest, complete with a pronounced Russian accent—Crowe’s current physique would arguably suit Kraven’s role better than Aaron Taylor Johnson.
LOW COST
From an action and directorial standpoint, Kraven fares better than other movies in the Sony Spider-Man Universe, thanks to JC Chandor’s attempts to assert his voice within production constraints. Nevertheless, corporate interference is apparent, leaving sequences over-edited, rushing the action before it fully develops. The rapid pace and flawed assembly of scenes undermine the film’s authenticity. Despite some successful practical segments, like the London chase, glaringly subpar visual effects disrupt the suspension of disbelief. Unappealing photography, dreadful digital overlays—particularly during Kraven and Rhino’s penultimate scene—indicate misallocated budgets. Even synthetic lighting betraying the backdrop in the African savannah scene underlines the over-reliance on studio settings when more natural locations would have sufficed.
Sadly, no further elaboration is required—Kraven remains another misstep in Sony Pictures’ already unimpressive Spider-Man Universe, sans Spider-Man. Although it may be viewed as another affront to comic book fans, it exists as a more tolerable blockbuster compared to other entries like Venom, Morbius, and Madame Web. Despite its backward nature and failure to meet expectations, it stands out as the least objectionable among Sony Pictures’ blunders. Recent reports from The Wrap speculated that Sony Pictures might abandon this universe, prompting initial celebration. However, Variety refuted these claims, indicating that Sony is unwilling to relinquish the license so readily. Despite successive failures, executive diligence will presumably lead to better quality considerations. Insider whispers suggest introducing a new Spider-Man, not necessarily Tom Holland—perhaps reintroducing Andrew Garfield or even Tobey Maguire, each with their timelines, as multiverse narratives resonate with audiences. Moving forward, maintaining high standards, genuine engagement, and respect for these productions will ensure loyal audience reciprocation.
OUR RATING: 5/10
