After seeing Kraven the Hunter in theaters in December 2024, I couldn’t cease fascinated about one element of the film. Kraven’s arrival on Netflix this week — its debut for the streaming viewers — introduced it again to the forefront of my thoughts. Kraven was an enormous box-office flop, scoring round $60 million worldwide on a $110 million manufacturing price range, however it’s the form of flop that sparks morbid curiosity. This weekend, many, many Netflix subscribers will pop this flick onto their televisions or second screens, and discover out that there was a superhero film in 2024 the place a white man on a visit to Africa acquired animal powers by ingesting a voodoo potion.
My situation right here isn’t about accuracy to the supply materials, to make sure. It is technically true that Kraven acquired his powers of enhanced power and velocity from a potion he stole from an African “witch physician.” (It was 1964, in his first look, and I suppose Stan Lee and Steve Ditko have been having an actual “broad stereotypes” form of month.) However most fashionable comics politely don’t point out it, as a result of, you recognize, the usage of “voodoo” as shorthand for “jungle magic” is racist. To not point out an actual tonal swerve for a film making an attempt to be extra Jap Guarantees than Indiana Jones.
However then once more, possibly my grievance is about accuracy, in a roundabout approach. Sony’s interconnected cinematic universe of Spider-Man-less Spider-Man motion pictures (Morbius, Madame Net, the Venom motion pictures, and now Kraven) have been born of a mandate to bend secondary comics characters into new molds as self-serious heroes or antiheroes in superhero action-thrillers. Kraven the Hunter could be the most effective instance of how that restricted transient was prioritized over different good and apparent selections.
Should you had to decide on one in all Spider-Man’s out-and-out villains to carry down his personal film franchise, Kraven is about as adaptable a personality as you will get. In any case, he’s virtually not even initially from Marvel’s comics.
Within the grand custom of nice concepts that Stan Lee borrowed and polished up with superhero garments, Kraven (full title Sergei Kravinoff) is only a Marvel adaptation of Normal Zaroff from Richard Connell’s seminal 1924 brief story “The Most Harmful Recreation,” the origin of the saying that man is essentially the most harmful prey for a hunter to subdue. Zaroff is the villain of the piece, an aristocratic Russian big-game hunter who contrives to hunt unwilling human victims on a non-public protect for his personal enjoyment.
“The Most Harmful Recreation” had already impressed a number of unfastened or direct diversifications in movie, radio, and tv by the point Lee and Ditko debuted Kraven in 1964’s Superb Spider-Man #15. The story of a person with immense assets who makes use of them to pursue his terrifying need to hunt folks like they have been trophy animals had already change into a normal trope in midcentury journey fiction, a lot in the identical approach the battle royale has made an enormous splash in fashionable motion motion pictures and TV: It was a helpful construction for presenting a wide range of resonant metaphors. Kraven himself was simply one aspect of the bigger trope — or a pure continuation of it into the superhero sphere, nevertheless you need to take a look at it.
And Kraven stays some of the versatile villains in Marvel Comics. Historically, Spider-Man is his nemesis, however in precise follow, he’s been pitted in opposition to nearly all people. Creators could make him hunt Black Panther or Captain America, and even make him shut, private mates with Squirrel Woman. He’s a wonderfully environment friendly hook as a result of he’s actually only a mild reskin of a broader trope that’s been utilized in works as tonally disparate as Gilligan’s Island and Felony Minds. And it’s not like villains can’t anchor a film franchise — simply take a look at the horror style. Kraven and the Predator are the identical archetype.
However even when handed a doubtlessly common boogeyman, Sony’s mandate was to cram him into acquainted framing: a morally questionable hero of an action-thriller set in a world largely with out superheroes. The filmmakers took the man whose iconic position is looking harmless human beings for sport till a hero triumphs over him, and made him the Punisher with a lion head motif to his shirt as a substitute of a cranium.
I don’t assume that is essentially as a result of the parents behind Kraven, or different Sony Spider-Man motion pictures, don’t see the potential that the supply comics revealed in these characters. Each Kraven actor Aaron Taylor-Johnson and Kraven director J.C. Chandor have stated they have been indebted to J.M. DeMatteis and Mike Zeck’s defining 1987 crossover Kraven’s Final Hunt, and hoped that they could someday get to adapt that basic story.
However that was at all times going to be a tall order within the construction of Sony’s Spider-Man Movies With out Spider-Man (previously “SPUMC”), contemplating that Kraven’s Final Hunt is a narrative about Kraven shedding his marbles after years of losses to… Spider-Man. He hunts down, subdues, and buries the wall-crawler alive so he can don Spidey’s costume and act out his crime-fighting duties whereas sustaining his personal brutal looking strategies. On the finish, Kraven feels so personally fulfilled by defeating Spider-Man and (in his eyes) efficiently doing the hero’s job that he releases Spider-Man and takes his personal life. He’s an Alexander with no extra worlds to beat.
Given all that, there may be merely no eradicating Spider-Man, and his prolonged preestablished rivalry with Kraven, from Kraven’s Final Hunt. And Taylor-Johnson and Chandor aren’t the one Sony Spider-Man figureheads who appear to know that the franchise will at all times be a two-legged stool with out the webslinger.
However however, it’s equally troublesome to think about a narrative through which Taylor-Johnson’s Kraven — a grim grownup man who turned his again on his crime-lord household and devoted himself to murdering essentially the most difficult-to-find criminals of the world — sees the defeat and alternative of Tom Holland’s Spider-Man, a peppy 17-year-old do-gooder, as an act so personally fulfilling that he would take into account it his life’s crowning achievement.
Picture: J.M. DeMatteis, Mike Zeck/Marvel Comics
And that, I feel, is on the coronary heart of the voodoo potion alternative. Should you’re making a Kraven film the place he doesn’t have a rivalry with Spider-Man and he’s not even a villain, possibly you have to maintain the voodoo potion. Perhaps, when you’ve modified virtually all the pieces concerning the character to intention at an ill-fitting transient as a substitute of a resonant replace or revamp, all that’s left of the unique property to mark it as an adaptation are essentially the most extraneous, dated, and cumbersome comedian ebook particulars. Like a voodoo potion, an Amazonian spider cult, a ferociously contrived medical-experiment-to-vampire transformation, or the Venom franchise’s gradual deflation into a collection of comics references lashed haphazardly right into a single script.
If the precedence isn’t to make the most effective adaptation, however to make a mold-fitting adaptation, it turns into so much tougher to make a good adaptation. With Sony’s admission that it has no present plans to proceed its Spider-Man-less Spider-Man Universe, Kraven the Hunter doesn’t simply stand as a capstone on that effort, however as the most effective instance of its flaws. The issue was by no means that there are solely a few methods to make an amazing film out of Kraven the Hunter. The issue is that there are a ton of how, and Sony nonetheless picked this one.
Kraven the Hunter (alongside Madame Net and Venom: The Final Dance) is streaming on Netflix now.
