Kraven the Hunter, Sony’s latest addition to its Spider-Man spin-off universe, arrives with a great deal of fanfare but falls short. Despite a cast that appears to be putting in the effort, director J.C. Chandor delivers a muddled, inconsistent experience.

Aaron Taylor-Johnson plays Sergei Kravinoff, a Russian aristocrat-turned-animalistic vigilante in the film that follows Sergei’s transformation from an empathetic, lion-faced child into the brutal predator that comic book fans know as Kraven.

Kraven the Hunter begins with a flashback to Kraven’s traumatic childhood when he accompanies his cruel, oligarchic father Nikolai (Russell Crowe) on an African safari. A near-fatal encounter with a lion becomes the catalyst for Sergei’s transformation, aided by a mysterious potion and the strange, mystical influence of Calypso (Ariana DeBose).

As Sergei’s journey of self-discovery takes him across Siberia, UK and Turkey, the film introduces a number of characters: Kraven’s half-brother Dmitri (Fred Hechinger), who possesses the power of chameleon mimicry, and the villainous Aleksei (Alessandro Nivola), who has morphed into the absurdly over-the-top Rhino. These characters feel like mere vehicles for action and exposition rather than fully fleshed-out personalities.

Taylor-Johnson brings a physicality to the role. His muscular physique and roguish charm could have made for a compelling anti-hero but Taylor-Johnson lacks the gravitas to match the complexity of Kraven, a man whose reverence for animals and disdain for humans makes him a bundle of contradictions.

In the role of the adult Dmitri, Fred Hechinger manages to stand out among the otherwise forgettable ensemble, And no wonder that it’s Russell Crowe who steals the show as Nikolai, the cruel, domineering father. There is a sly, almost comedic, edge to Crowe’s performance that sets him apart.

The villains are where Kraven the Hunter really falters. Alessandro Nivola's portrayal of Aleksei ‘the Rhino’ Sytsevich is cartoonish at best, with the character’s transformation into a rhino-like beast explained away by a vague medical condition and chemical enhancement. This ‘Rhino’ is neither menacing nor memorable, as the film’s lack of investment in its antagonist’s motivations makes it difficult for the viewer to be pulled into the conflict.

Similarly, the sole purpose of Christopher Abbott’s nameless Foreigner seems to be to push the story forward without adding any real tension or intrigue. There’s a sense that these villains were simply thrown into the mix without much thought.

The film’s action sequences, which one would expect to be its biggest highlight, also miss the mark. Instead of jaw-dropping set pieces, Kraven the Hunter offers a series of lifeless CGI animal attacks and uninspired brawls though there’s plenty of mayhem.

The humour, meant to off-set the film’s dark tone, feels forced and awkward. The overreliance on quips and one-liners only serves to undermine any tension the film manages to build, leaving the viewer hanging between wanting to take things seriously and wishing for a more irreverent tone.