As I sat down to watch , I found myself in the midst of a cinematic safari, where the wildest beasts were not lions or tigers but an ensemble of eccentric characters vying for the title of “Weirdest Guy.
Discussing an unusual cast of characters is a topic that sparked debate among friends following their watch of Sony’s Spider-Man Universe’s latest release, which, for contractual reasons, omits any reference to Spider-Man. The main character, originally Sergei Kravinoff and portrayed by Aaron Taylor-Johnson, wears a fang thong necklace, showcases washboard abs, and bears the intense gaze of someone on the brink of delivering a lecture about the risks of seed oils. Indeed, Kraven is quite an oddity!
Fred Hechinger, as his half-brother, Dmitri, is a nightclub-owning mimic who has the vague proportions of a Funko Pop, appearing to have been digitally shrunk down in some way so that he can look frailer than his brawny sib. Russell Crowe plays Sergei’s vodka-swigging daddy, Nikolai Kravinoff, a Russian gangster espousing a brand of masculinity so absurdly toxic that the first thing he barks to young Sergei after he dies for three minutes on the operating table after getting mauled by a lion is “WHY DID YOU NOT SHOOT?!” Christopher Abbott is an assassin named the Foreigner who dresses like he owns an art gallery in Geneva and has confusing powers involving counting. As Aleksei Sytsevich, a.k.a. the Rhino, one of Nikolai’s rivals, Alessandro Nivola does an even twitchier riff on what he did as Pollux Troy in Face/Off, at one point letting out a muted, prolonged shriek that no one acknowledges. That’s a lot of weirdness, and yet, I’d argue, none of it matches what Ariana DeBose is doing as Calypso, who as a kid gives Kraven the potion that activates whatever his deal is and as an adult stalks around a London law firm in intense geometric jewelry and assertive shoulder pads and is incapable of delivering a single sentence in a normal cadence — the way she says “moTHAfuckAAA” will haunt me forever.
A less polished alternative than a group of peculiar men seeking a film could be an unrefined choice, such as the upcoming ‘Madame Web’ and the precursor to ‘Kraven the Hunter.’ The latter is so chaotic that it borders on unwittingly attaining cult classic status due to its inexplicable incompetence. Directed by J.C. Chandor, known for elegant, genre-adjacent dramas like ‘Margin Call’ and ‘Triple Frontier,’ this filmmaker can deliver well-lit shots, but the CGI animals appear jarring and the action editing is not always consistent. In one fight scene, Kraven gets shot with a dart, and the movie lingers so long on the responsible character that it becomes avant-garde. Chandor, in fact, may be too refined for ‘Kraven the Hunter,’ as the film often slows down when it should accelerate. This is a movie about an absurd antihero who resides in a glass geodesic dome in Siberia, kills numerous individuals using a tooth from a leopard-skin rug, and earns animal respect by flashing yellow eyes at them. Overemphasizing his family trauma, such as delving into a 20-minute flashback in the initial act, undermines any offbeat energy the movie might have generated.
Discussing superhero films often leads to discussing money over the actual content shown on screen these days. The most significant off-screen fact about ‘Kraven the Hunter’ is that Sony postponed it three times before effectively canceling it and announcing their withdrawal from a strange, non-Marvel part of their Marvel cinematic universe. The movie isn’t criticized so much as realistically described as having fundamental problems: Its protagonist, Kraven, is based on a relatively unknown comic book character who lacks drawing power, its lead actor has questionable charm and isn’t a draw on his own, and he seems more entertaining in a supporting role than in this movie where he’s parkouring through London barefoot. In the Spider-Man universe, Kraven would be an unusual addition, but as the main character of a whole film, he resembles a decorative pillar expected to support a building. ‘Kraven the Hunter’ delves into the inner life of a character we didn’t care about initially, with underwhelming action scenes and a lot of dramatic acting. However, there is one redeeming aspect – DeBose as Calypso somberly stating that after her grandmother’s death, she never saw the woman again, which seems appropriate.
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2024-12-11 23:54