Kraven is Sony’s latest attempt to mine its Spider-Man-adjacent characters for cinematic gold, this time taking a stab at Sergei Kravinoff, better known as Kraven the Hunter. Even if you’re going in with rock-bottom expectations set by Morbius or the patchy Venom films, you might find yourself torn between mild intrigue and full-on indifference. The movie doesn’t bomb, but it certainly doesn’t soar either—it lands squarely in the “it’s fine, I guess” territory, buoyed by a handful of positive elements but weighed down by a laundry list of issues.

The film tries to position itself as a darker, grittier entry in Sony’s Spider-Man Universe but ultimately falls flat in several key areas. The movie follows Sergei Kravinoff (Aaron Taylor-Johnson), a man battling his toxic past and violent instincts, trying to define himself apart from his ruthless father, Nikolai (Russell Crowe). While Taylor-Johnson puts in a committed, physical performance and the action sequences deliver some visceral excitement—with brutal fight scenes and a snowy prison breakout standing out—the film struggles to transcend its predictable, shallow narrative.

One of the strongest aspects of Kraven is its commitment to visceral, intense action. The movie doesn’t shy away from bloody, fierce fights, embracing Kraven’s nature as a hunter rather than a hero. Physicality is a highlight here with Taylor-Johnson convincingly portraying the character’s power and agility. Some of the choreography—such as a snow-covered prison escape and a jungle chase—inject adrenaline into the movie, complemented by Russell Crowe’s imposing presence as the domineering father. Ariana DeBose’s Calypso and Alessandro Nivola’s Rhino provide interesting, if underdeveloped, counterparts that add flavor to the otherwise monochrome supporting cast.

However, the film is weighed down by a paint-by-numbers storyline that treads the well-worn path of antihero origin stories without adding fresh insight or emotional texture. The plot feels cliched and forgettable, with many moments so awkward and stilted that the dialogue and narrative flow could easily be accused of being AI-generated—and that accusation wouldn’t be out of place. This mechanical, artificial quality in the script creates a disconnect that makes characters seem like hollow archetypes rather than fully realized people. It’s as if the story was stitched together by a formula rather than human creativity, robbing the film of natural humor, depth, or emotional impact.

The biggest glaring example of this artificiality comes in the odd use of CGI for some of the characters’ facial movements. In particular, a scene with DeBose’s Calypso involved digital manipulation of her mouth and eyes to sync dialogue after filming, creating an uncanny, often distracting effect. This technique, reminiscent of the awkward, jarring movement of digitally animated mouths on still images, recalls the uncomfortable “Annoying Orange” vibe and highlights a troubling overreliance on technology rather than retakes or better production planning. It is a standout low point that further reinforces the impression of a rushed or overly engineered project.

The emotional core of Kraven revolves around the toxic father-son dynamic, which Crowe and Taylor-Johnson approach with convincing intensity, though the writing undermines their efforts with repetitive, obvious lines. The other characters, including Calypso, Rhino, and the Foreigner, suffer from limited screen time and one-dimensional arcs, often serving only to advance the plot mechanically rather than enrich the story. The film’s isolation from the broader Spider-Man universe also makes the stakes feel lower, leaving Kraven’s violent vendetta somewhat directionless and detached from broader consequences.

Visually, the film is inconsistent. While it nails gritty, physical action sequences, the CGI and digital alterations break immersion. The attempt at a darker, more grounded tone battles against these technical missteps and a narrative stuck in early-2000s superhero tropes.

Kraven offers some genuinely brutal action and committed performances but is hamstrung by a formulaic, AI-esque script and distracting technical glitches like the digital mouth-sync. It feels like a film caught between creative ambition and lazy execution, where flashes of potential are overwhelmed by awkward dialogue and uninspired plotting. For fans craving raw action or eager to see a Spider-Man villain on screen, it may be a mildly watchable diversion; for anyone seeking a fully fleshed-out, emotionally engaging story, Kraven is likely to disappoint.