Kraven – The Hunter review movies in J. C. Chandor con Aaron Taylor-Johnson, Ariana DeBose, Fred Hechinger, Alessandro Nivola e Russell Crowe
If in the last two decades the Marvel Cinematic Universe (MCU) has often been criticized for an annoying discontinuity in the quality of the products, the same cannot be said of Sony’s Spider-Man Universe (SSU), which seems to have achieved a coherence and constancy rare to say the least.
Since 2018 – the year of the release of the first Venom – Sony Pictures has in fact succeeded in the difficult and almost admirable effort of distributing a sequence of films characterized by an average quality that is modest to say the least (to put it mildly), all capable of arousing most paying spectators that particular feeling of disgust mixed with indifference.
In that sense Kraven – The Hunter it can be said to be fully in line with what has been achieved so far within the SSU, of which, among other things, he will be the last exponent, as further evidence of the “particular” appreciation given by the public. The feature film starring Aaron Taylor-Johnson in fact it represents the worthy testament of a failed project, which started badly and ended worse.
The powerful laziness of the screenplay, reflected in most of the pro-filmic elements of the production, constantly gives back the feeling of a work (if it can be defined as such) whose genesis does not have its roots in a truly stratified editorial project, but, on the contrary , in a series of poorly conceived and even worse executed contractual obligations.
The narrative approximation to which The requirements subjects the viewer is disconcerting to say the least and seems to constantly conceal the need to describe a vast universe in a handful of shots.
If it is true that much of the virtues of the audiovisual medium lie precisely in the ability to evoke an entire emotional firmament through a single image – see the legendary sled in Citizen Kane – it is equally evident how J.C. Chandor (director of The requirements) is not Orson Welles…
Despite a family dynamic that is as predictable as it is appreciable, there is not a single aspect of the SSU’s latest “effort” that deserves to be promoted. From the absence of narrative references capable of activating the most elementary logical mechanism of cause and effect, up to the acting of Aaron Taylor-Johnson himself, who seems to have identified the solution in a rather forced expression, shown off at every turn recitative to transpose your character onto the screen.
So, if you want to watch a product decimated by dramatic and gigantic narrative chasms, all you need to do is sit on the sofa and watch Spiderman – No Way Home again. At the very least you would save money, avoid the rain, the traffic and you would certainly have more fun than you would when watching a feature film poised between boredom and sloppiness.
