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Kraven the Hunter (2024) – Movie Review

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Kraven the Hunter (2024) – Movie Review

Kraven the Hunter, 2024.

Directed by J.C. Chandor.
Starring Aaron Taylor-Johnson, Ariana DeBose, Fred Hechinger, Russell Crowe, Alessandro Nivola, Christopher Abbott, Levi Miller, Billy Barratt, Diaana Babnicova, Chi Lewis-Parry, Michael Shaeffer, Dritan Kastrati, and Murat Seven.

SYNOPSIS:

Kraven’s complex relationship with his ruthless father, Nikolai Kravinoff, starts him down a path of vengeance with brutal consequences, motivating him to become not only the greatest hunter in the world, but also one of its most feared.

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At one point during Kraven the Hunter (coming from A Most Violent Year‘s J.C. Chandor of all filmmakers), one of the several villains (I won’t specify which) delivers a hilariously eccentric line reading of “Get to the part where I should give a shit,” which sums the experience up. It’s hard to be convinced that Sony is instructing these filmmakers to try capturing something that resembles competent storytelling, compelling conflict, and human-sounding dialogue. However, chasing insanity isn’t necessarily working for Sony’s Spider-Man Universe (now seemingly dead, and going out with a whimper here); these films don’t make an impression beyond stunning stupidity, intentional or not.

That line especially sticks out since, for a film with magical potions (from underdeveloped minority characters serving the arc of a white hero nonetheless), a comically over-the-top punishing father played by Russell Crowe putting on a Russian accent and dialect that makes him come across like a Simpsons “in Russia, car drives you!” meme come to life, a human who has undergone a procedure for hardened rhinoceros skin rendering him impervious to bullets, and a time-stopping gifted assassin, Kraven the Hunter is an interminable slog that no amount of gratuitously entertaining R-rated violence can elevate.

It begins in medias res with a prison break-in and subsequent hit, presumably because the filmmakers (the script comes from Richard Wenk, Art Marcum, and Matt Holloway) know that the childhood origin story to the actual origin story unfolding is also quite boring, filled with setup for a plot containing an excessive amount of characters, most of them villains, working across elaborate schemes and betrayals that don’t register, mainly because it’s unclear what anyone actually wants, other than vague gestures of power and control over mysterious businesses. Yes, I could go to Wikipedia and research more about the Kraven bloodline and family business since the movie isn’t concerned with making it clear what any of these people are running, doing, and what they want, but why the hell should I do the work for the filmmakers?

What can be gathered is that Sergei Kravinoff’s (Levi Miller as a teenager, Aaron Taylor-Johnson as the adult antihero alter ego Kraven) hunting-obsessed father Nikolai (Russell Crowe) is heartless, asserting that he and his half-brother Dmitri’s (Billy Barratt as a young child, Fred Hechinger in the present day) mom took her life because she was mentally ill; it had nothing to do with him being a ruthless monster. Nikolai doesn’t want his boys to grow up weak or let America make them soft, so he instills hunting into them, proclaiming that one becomes a legend from killing notable beasts. Dmitri doesn’t exactly approve of this, but he is a pushover with loyalty to his father, even if he struggles to live up to such vile masculinity. Meanwhile, Sergei questions the fairness of using firearms while expressing an objection to the poaching period.

This probably makes Kraven the Hunter sound on the right track to tensely exploring toxic family dynamics and perhaps the general consequences of hunting animals for sport. Still, it’s also shockingly quick to do away with those themes in favor of several other subplots overstuffed with ability-enhanced characters. One doesn’t expect realism in a story about a boy mauled by a lion who is then discovered and given a magic potion by Ariana DeBose’s mystical Calypso, which not only miraculously heals his inner wounds but gives him animalistic traits, including the ability to catlike scale walls as if it’s all a parkour performance, but it’s reasonable to expect something to engage with and care about among the absurdity.

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From there, Sergei runs away from home and apparently becomes Kraven over the years, protecting a personal piece of land shared with his beloved mother and murdering any poachers who stumble into the area. Meanwhile, Calypso has become a lawyer by day, with Kraven reuniting with her and looking to strike up a beneficial partnership; she provides him the locations of targets the law struggles to punish, and he kills them. That is also not a flawed premise, but again, so many generically motivated villains and ridiculous plot swerves come into play that it’s as if Sony or the filmmakers knew they were only going to get to make one of these, so they decided to cram three movies into one.

Although the film constantly throws Kraven from location to location with all the grace of whiplash or a video game abruptly jumping to the next level with only a 30-second cut scene in between, there is a healthy amount of bloody violence here. Such action sequences are poorly edited together with a distractingly high amount of cuts and typically never feel like they have gotten underway before they are over, but at the very least, the filmmakers understand this should be a graphic affair that doesn’t hold back on colorful stabbings. Similarly, the animal CGI leaves much to be desired (one wonders if Disney chose to release Mufasa a week after this under the impression that the quality can only go up from here), often leaving Aaron Taylor-Johnson looking ridiculous, such as an interaction showing that he can wrestle a lion to the ground, demonstrating a playful bond.

The issue is that the above craziness is stuck inside exhaustively formulaic plotting. Aaron Taylor-Johnson is not only a dud in the lead role but also has a good chunk of screen time taken away from competing villains that range from his aforementioned father, Alessandro Nivola’s Rhino, and Christopher Abbott’s time-bending hitman The Foreigner, all of whom are incomplete characters. Nothing is interesting to note about them other than that their allegiances consistently shift, spinning the wheels of incomprehensible storytelling aside from being able to tell who viewers should be rooting for. Viewers should also crave more from Kraven the Hunter. Hunt for better movies.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

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UNTIL DAWN Review

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UNTIL DAWN Review
UNTIL DAWN is a horror movie based on a video game about a group of friends who find themselves trapped in a time loop, reliving the same night repeatedly with increasingly terrifying, fatal threats. One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town implied to be in Pennsylvania. This place of unimaginable horrors traps them all in a horrifying time loop where they’re murdered again and again. They must work together to survive without losing themselves in the never-ending time loop of gruesome murder.

UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot of UNTIL DAWN puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.

(HH, Pa, C, O, Ho, LLL, VVV, S, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong humanist worldview that twists the concept of modern psychology into a supernatural hellscape with unexplained time loops and reoccurring nightmarish horror filled with excessive violence and gore, but with unexplained pagan supernatural elements (such as a storm circling a house, the appearance of more buildings, the time loop itself, and many more), the time loop perverts the laws of mortality and implies that the consequences of violence, murder, suicide, etc., don’t apply, the psychologist controlling the time loop discusses the situation with modern psychology in vague circles meant to confuse and disorient the nature of the reality in which the victims are trapped, religion or God is not explicitly discussed, but there’s an unexplained cross in front of a house that isn’t explained and a character references the belief that a possessed person cannot become possessed through contact but rather weakness of faith, and some occult content where one woman is a self-described psychic and is into “woo-woo” stuff as another character describes it, she tries to amplify her psychic abilities with help from the others by holding hands and meditation, and she often has strong feelings and seems to have a sense the others do not have, but no worship or symbols are shown, plus a girl dating a guy is said to have previously dated a girl as well as other men;

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Foul Language:

At least 101 obscenities (including 62 “f” words), two strong profanities mentioning the name of Jesus, and four light profanities;

Violence:

Very severe violence and gratuitous blood and gore throughout including but not limited to dead bodies, monsters, scarred masked psychopath, stabbing, beating, and people spontaneously exploding;

Sex:

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No sex shown, but a person puts on a VHS tape and a pornographic movie is heard playing briefly but not shown, and a woman is said to date a lot of people and one time dated another woman;

Nudity:

No nudity;

Alcohol Use:

No alcohol use;

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Smoking and/or Drug Use and Abuse:

No smoking or drugs; and,

Miscellaneous Immorality:

A psychologist is a callous antagonist whose motives are relatively unknown beyond having a morbid curiosity that led to awful experiments and playing games with other people, he purposely keeps people trapped for no known reason other than his sick and twisted observations that end in gruesome murder and unnecessary torture.

UNTIL DAWN is a horror movie based on a video game about a group of friends who find themselves trapped in a time loop, reliving the same night repeatedly with increasingly terrifying, fatal threats.
Advertisement

One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town. This place of unimaginable horrors traps them all in a horrifying time loop where they will be murdered again and again.

UNTIL DAWN is nicely shot and paced well, with believable performances, but it has a strong humanist worldview overall with some occult elements is filled with gruesome violence, gore, lots of strong foul language, and a time loop that leads to an increasing amount of horrific murder and unacceptable immoral actions for survival.

The movie begins with a woman named Melanie clawing her way through the dirt with an unknown monster chasing after her. Digging her way out, she looks up to a masked psychopath standing over her with a scythe. She begs him, “No! Please not again. I can’t!” He fatally stabs her without a thought. It cuts to the main title, and an hourglass is shown with a ticking clock sound and unsettling music.

Cut to a group pf people in a red car driving up a winding mountain, an obvious nod to THE SHINING. It’s been one year after Clover’s sister Melanie vanished without a trace. The group consists of Max, Nina, Megan, Abe, and Clover. Shortly after their mother died, Melanie had decided to start a new life in New York. Clover decided to stay, which created tension between the sisters before Melanie left.

Clover and her friends are looking for more information about her disappearance. Their last stop is the last place she was seen in a video message taken in front of a middle-of-nowhere gas station. Megan, a proclaimed psychic, wants to join hands outside and see if they can feel any mystical energy regarding Melanie. Their attempt is cut short when an RV blares its horn and almost hits them, scaring them all.

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Clover goes inside the gas station for a cup of coffee while the others talk outside. Clover asks the man behind the register if he worked here last year. After confirming he’s been working there for years, she shows him a picture of Melanie from the video. He asks if she was missing and clarifies saying that Clover is not the first to come asking. When she asks if many people around here go missing, he says people “get in trouble” in Glore Valley. As their only lead, the group decides to go there and stick together.

Nervously driving to the valley in an increasingly dangerous storm, the group begins to question what they are doing. Suddenly the storm stops but is still raging behind them. They park in front of a house with a “Welcome Center” sign, with the storm circling around the area but leaving the house dry. Confused, they get out of the car and look around. Nina decides to see if there’s anyone inside so they can come up with a plan. Everyone goes in except Clover, who walks up to the strange rain wall.

Inside the house, they find a dated and dusty interior. The power and water don’t work, and they conclude that they are the first people to come there in years. There is a strange hourglass with a skull on the wall. Checking the guest book, Nina finds Melanie’s name signed multiple times, with increasingly shaky handwriting. In another room, Abe finds many missing posters with faces on a bulletin board and finds poster with Melanie’s face.

Outside, Clover thinks she sees a person in the rain. She also hears Melanie’s voice and runs after it. Concerned, Max calls after her and he pulls her back in. As Nina signs the guestbook, the sun suddenly sets and the clock starts ticking.

Inside the house now with the hourglass turned over, they try to understand what’s happening. The car is out in the rain now with someone revving the engine threateningly. Some of them go to the dark basement, where the lights don’t work. There is an eerie sense of dread as Abe goes to check out a noise, and Nina finds a scarred and masked psychopath standing in a room as the top half of Abe’s body falls to the ground.

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Hearing the commotion upstairs, the others go to see what happened and Max spots the killer. They run to hide, and the apparently invincible psychopath horrifically stabs each of them as they try to fight back. The sand in the hourglass runs back, as each character returns to where they were when Nina originally signed the book (she now signs it a second time). They remember what had just taken place, and how they were all murdered. Clearly stuck in this time loop escape room situation, they will now have to figure out how to escape this terrifying hellscape as the situations get worse with every loop.

UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.

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Movie Review – SHAKA: A STORY OF ALOHA

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Movie Review – SHAKA: A STORY OF ALOHA
SHAKA: A STORY OF ALOHA is shared with the audience by investigator Steve Sue in a calm and charming manner, but this documentary tells a powerful, positive and fascinating story. The “hang loose” thumb, pinky sign that originated in Hawaii and carries many meanings is the focus of this film. I just learned this gesture is called a “Shaka” and has a worldwide impact.  And, there are Shaka Contests.  Who knew? And how do you throw a Shaka? For me, […]
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