‘Kraven the Hunter’ review: Radical rebranding of Spider-Man villain is horrendous yet hilarious

Kraven the Hunter is an extraordinary creature. From its earliest reports, it was confounding, bringing together celebrated independent filmmaker J.C. Chandor (Margin Call, A Most Violent Year) and a superhero genre that seems to scoff at the grounded dramas that made this filmmaker’s name. Then came the red-band trailer, where the eponymous anti-hero swung around his foes like an unleashed animal, biting off one man’s nose before spitting it meaningfully at another. Sony Pictures seemed to declare: Here is a R-rated superhero movie that goes hard and brings fresh blood to the genre. But then came the bumps — the release-date bumps. 

Kraven the Hunter was originally scheduled to premiere in January of 2023. Then it was bumped to October 2023. Then it was bumped yet again to August of 2024, and then to December. Finally, the film is coming out, and the delays seem to be explained by the final result — a Frankenstein’s monster of a film with seams that are not only showing, they’re practically protruding from the screen. And yet, I might just love this hot mess of a movie, because for all its failings, it managed something that’s been increasingly difficult as oversaturation drives the superhero story into the ground. Kraven the Hunter is surprising, truly wild, fun, and definitely not for kids. 

This is not the Kraven that Spider-Man fans are expecting. 

The screenplay by Richard Wenk, Art Marcum, and Matt Holloway radically reimagines the supervillain, who is chiefly known as a big game hunter who wears a lion’s head as a gaudy vest. In Kraven the Hunter, Sergei “Kraven” Kravinoff is a vigilante who abhors hurting animals and instead tracks and kills men, specifically bad men like poachers and arms dealers. 

The estranged son of a grumbling kingpin (an entertainingly surly Russell Crowe), Sergei lives off the grid in the wilderness, rebelling against his father’s villainy by balancing the scales with his own bare hands — and mystical superpowers that allow him to scale skyscrapers, flex superhuman strength, and run on all fours. And yes, that is often as goofy-looking as you’d expect, but also exhilarating for exactly that reason. Kraven may look ridiculous running like a charging gorilla down a city street in pursuit of kidnappers who’ve snatched his demure brother, Dmitri “Chameleon” Smerdyakov (Fred Hechinger). But after years of noble posing, it’s fun to watch a hero cut loose in such a non-regal way.

While rejecting the values of his gangster father, Kraven seeks to save his brother from rival kingpin Aleksei “The Rhino” Sytsevich (Alessandro Nivola, exhilaratingly eating this film alive in every frame). Along the way, he’ll find an ally in Calypso (Ariana DeBose), a lawyer whose secrets include mystical magic potions and skills with a crossbow, and an enemy in The Foreigner (Christopher Abbott), a supervillain whose powers appear to be counting while dressed as a douchebag. 

Kraven the Hunter has way more plot than it can handle. 

Chandor’s film aims to be a story of fathers-and-sons and a gangster drama and a superhero movie. And that’s a lot to pull off, even with a runtime of two hours and seven minutes. This means Kraven the Hunter is fitfully focused on backstory, spending an egregious amount of screentime on Sergei’s traumatic teen years, but explaining the Rhino’s unique abilities in a growling monologue. As for The Foreigner, Calypso, or Chameleon, a dense knowledge of Spider-Man comics might come in handy there, as their backstories are alluded to with gestures to other characters too vague for many to grasp. 

The movie only fitfully cares about the why of what’s happening, focusing more intensely on the what the fuck of it all. So, if — for instance — you wonder how a man living off the grid, without any apparent income, has access to a private helicopter and pilot willing to traverse a blizzard, you’ll be disappointed. But honestly, the glaring plot holes didn’t bother me. I relished every outrageous moment that breaks the mold, like the ultra-violent bloody assassinations that Kraven carries out coolly; the unapologetic ogling that Chandor’s lens offers of Johnson’s sculpted abs, broad shoulders, and taut backside; and the chaotic pleasures of Hechinger switching from sniveling little brother to suave lounge act, as his character’s unique ability to mimic voices allows him to sing Harry Styles, Ozzy Osbourne, and Tony Bennett with equal ease and flare. Other elements, however, are outrageous in a bad way. 

The post-production struggles are clear in Kraven the Hunter.

“We’ll fix it in post” is an adage in Hollywood that, as a former video editor, always makes me cringe. Some mistakes cannot be papered over with computer graphics or additional dialogue recording, but that doesn’t stop Chandor’s team from trying. Like in Madame Web, there’s an astounding amount of noticeable ADR in this movie, made clear by how often the mouth of the speaker is not on-screen or how the sound doesn’t quite match the setting. This suggests that while cuts were being made to the movie, the dialogue needed to be changed to make Kraven the Hunter comprehensible.

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Such audio changes might be overlooked by many. But in one scene in Kraven’s cozy glass hut, there’s a moment where post-production fails so spectacularly that Ariana DeBose’s mouth is bizarrely out of position as she speaks, as it it were glued on wrong. It looks like bad AI or maybe a messy composite job done by a human technician. But it’s jarring to say the least. Other CGI sloppiness — like when a bounding Kraven looks more rubbery than flesh-and-bone — is less offensive, and maybe even charming when seen with a nostalgic eye that remembers Sony’s first Spider-Man trilogy fondly. 

I don’t care that Kraven the Hunter is a bad movie. 

Plotwise, it’s barely cohesive. Technically, it’s a disaster. But to Chandor’s credit, every single actor in this movie commits to the bit. As the loathsomely cruel father, Crowe is low-key hilarious, spitting out the word “weakness” so much that it’s infectious. Across the film, so many characters say “weakness” that if this were a drinking game trigger, no one would make it out of the theater alive. 

Taylor-Johnson, who’s previously played the speedy but traumatized Quicksilver in the MCU and the wise-ass Kick-Ass in Kick-Ass, is glorious in this incarnation of Kraven, who is both capable of horrendous violence and enviable serenity. The English actor offers an almost breezy openness when the hunter explains his self-imposed mission to Calypso, talking about assassinations as casually as one might their lunch plans. But when opposite Crowe, a wounded sharpness creeps in, giving the family drama at the film’s core emotional weight. 

As for Hechinger — who’s been crushing it this year, with noteworthy turns in the action-comedy Thelma and two very tonally different critically heralded historical dramas, Nickel Boys and Gladiator II — is a brilliant counterpoint to his on-screen family. Where Crowe is putridly macho and Taylor-Johnson is swaggeringly confident, Hechinger cowers and smiles with a plea for affection that is heartbreaking in its earnestness. When he sings at the piano, you see the moments of rare bliss when he feels valued are also the moments where he’s pretending to be someone else. And that too stings. 

DeBose relishes the broad-shouldered power suits of her high-powered lawyer, affecting a walk that feels like her own spin on being king of the jungle. As Calypso, she brings a modern awareness to this tale of men who will do anything but go to therapy, and she does so with sophistication and a bit of cheek. Meanwhile, Abbott paints The Foreigner as a pretentious and vengeful weirdo, who relishes his power to dodge and strike while his victims are stunned (again, by counting I guess?). He’s so absolutely smarmy in the role that it’s a sicko pleasure to watch him, whether he’s slaughtering a prison guard or stealing a bite of steak from a captive’s plate. 

Alessandro Nivola is reason enough to see Kraven the Hunter.

Arguably one of the best supporting players in the game, Alessandro Nivola is brilliant as the Rhino. Introduced as a sniveling lackey of Crowe’s crime boss, Aleksei echoes the dweeby neediness Nivola brought to the bespectacled Pollux Troy, brother of Nic Cage’s outrageous terrorist in Face/Off. However, as Kraven grows into his power, the Rhino comes into his own. With that, Nivola injects outbursts that are erratic and electrifying. 

Wearing a slim-fit dress shirt and a small black backpack, Aleksei looks like a tech bro about to go on a brisk hike. But there’s something hard and sinister brewing beneath his surface, physically and psychologically. The almost melodic tone in his voice is essentially a disarming disguise, inviting his enemies to underestimate him. But he can’t maintain the ruse, so occasionally he explodes with a cry, or a threat that reveals not only his potential for malice and blood, but also the internal insecurity that could swallow him whole. 

Watching the trailers for Kraven the Hunter, I found the imagery often hilarious in its audacity. But I worried Chandor — because of his history with straight-faced drama — wouldn’t lean into the absurdity. I misjudged him. By casting Nivola, and encouraging this particular performance, Chandor smartly weaves the kind of lunacy into his superhero movie that recalls the savage spontaneity of Tim Burton’s Batman villains. And truly, between Batman and Batman Returns, those were portrayals both iconic and influential. Now, Nivola’s Rhino is nowhere near as stylish, sexy, or cool as Burton’s goth squad of scoundrels, but he is his own brand of deliciously evil and undeniably enthralling. 

In the end, Kraven the Hunter has much in common with siblings Venom: The Last Dance and Madame Web. It’s an anti-hero story overloaded with IP, presumably to secure the interest of longtime Spider-Man fans. But these branding requirements plus the subgenre mashups that could make these Sony superhero movies standout from their MCU and DC competitors ultimately eviscerate any narrative cohesion. Or to put it simply, Kraven the Hunter is doing too much. However, this bonkers superhero movie is at its best when it embraces its most bizarre elements. In those moments, Kraven the Hunter is chaotic fun that’s an absolute blast to see on the big screen.

Kraven the Hunter opens only in theaters Dec. 13.