Like the Venom sequels, Kraven the Hunter is a movie that knows its lane and leans into it. While it has its fair share of flaws, from some unintentional humor to uneven CGI, it ultimately offers a fun diversion thanks to the family dynamic at its center, solid action, and refusal to take itself too seriously but also avoiding the childish humor that has plagued recent MCU projects. Kraven feels like a throwback to early 2000s comic book movies—smaller stakes, a touch of absurdity, and just enough heart to keep you engaged. It’s another Sony superhero outing that may not be groundbreaking but still delivers its own brand of entertainment.
Director J.C. Chandor (Margin Call, A Most Violent Year) might seem like an unusual choice for a comic book movie, and while he may not be fully accustomed to working with CGI, he handles most of the film’s action well. Other than the rhino fight in the final act, his direction generally succeeds, particularly in grounding the family drama. This focus is what ultimately elevates Kraven the Hunter to a watchable level. Chandor uses the first act effectively to establish Sergei Kravinoff (Aaron Taylor-Johnson) and his relationship with his father, played by Russell Crowe, and brother, Fred Hechinger. Despite everything that follows, this well-crafted family relationship keeps audiences invested.
Much of the credit goes to the cast. Crowe, now in a phase of his career where he often mixes a “I don’t want to be here” vibe with his still-commanding presence, turns Nikolai Kravinoff into a complex individual with a clear, believable love for his sons. Like his role in Land of Bad earlier this year, Crowe fully commits, elevating the material with gravitas and genuine warmth. Fred Hechinger, as Sergei’s brother Dmitri, brings an endearing energy that makes the family bond feel real. By the third act, the groundwork laid in the first act pays off, giving the film a satisfying emotional core.
The villains also deserve a mention. Alessandro Nivola’s Rhino is a mixed bag—his character’s arc is tired, and the transformation is a bit too silly—but his presence is memorable. Christopher Abbott, on the other hand, steals his scenes as one of the mysterious, calculating ‘The Foreigner’. Abbott’s character oozes charisma, making every moment he’s on-screen cool.
Of course, Kraven isn’t immune to the criticisms often lobbed at Sony’s Spider-Man Universe. This franchise, which has become a punching bag for critics largely due to the disastrous Morbius, has struggled to find its footing with audiences. However, unlike Morbius, which was bogged down by its lifeless pacing and ugly CGI, Kraven manages to avoid being a slog. Some of the humor is unintentional, with moments of absurdity that occasionally undercut the tension. The Rhino transformation, in particular, borders on over-the-top, and the repetition of certain motifs—like a character counting way too many times—feels unnecessary. Additionally, the film often shows signs of studio interference, with moments where lips appear out of sync, suggesting dialogue was re-recorded or altered, which can be distracting. Ariana DeBose’s character is underwritten, saddled with some of the film’s weakest dialogue. And while Aaron Taylor-Johnson is serviceable as Kraven, his performance here feels more energetic and fitting than his recent work in Nosferatu but still falls short of making him a standout protagonist.
Yet, for all its missteps, Kraven manages to entertain where it counts. The action sequences are the film’s highlight, with two standout scenes: the opening Russian prison escape, which Sony smartly used to promote the film, and a chase through the streets of London that surprises with its energy and creativity. The film’s cinematography, courtesy of Ben Davis (Guardians of the Galaxy, Three Billboards Outside Ebbing, Missouri), elevates the film by often surprising with some very well-shot sequences. These moments add a dynamic edge, enhancing the atmosphere and action in unexpected ways.
Tonally, the film feels closer to Venom: Let There Be Carnage than the slog of Morbius, embracing a lighter, more self-aware approach that balances its quirks with entertainment. The absurdity of Kraven gaining his powers through a drop of lion blood might make some roll their eyes, but sets the tone straight away to what kind of movie it is. While it won’t win any awards for originality or polish, or does enough to change people’s perception on the Sony Cinematic Universe, it’s a movie that doesn’t overstay its welcome, offers some solid action, and surprises with moments of heart. If you’re hunting for a good time, you’ll find some here.