muratmihcioglu

This series is like a time capsule. It shows you in your face how easy it was to let carefree imagination run on TV back in that era, where people's actual, sincere takes on stuff weren't considered offensive.

Stereotypes, misperceptions, faux passes... They galore, if you try to evaluate the opening episode with today's mindset. Back then, it was just TV.

The creators have known their way into the hearts and minds of crowds, apparently. Thanks to the raw nature of its unfiltered, childish, raunchy content, and despite several faults with the script and the directing we can list, it simply flows.

I don't think it's even possible for today's people to write such stuff. There are so many social metrics that chain the imagination now. Not to overthink was possible back in the 60s when TV catered to the most primeval of entertaiment necessities.

This is the first full episode of this classical comedy series and I had no idea Barbara Eden was so talented and so beautiful. In fact, everyone looks incredibly pretty. The lighting techniques of the time came with a particular kind of illumination that gave them auras, hiding away details today's cameras ruthlessly capture. However, I think people were actually much healthier back then. And easier to please. And less PC.

The story is not much different from an adventure of Jughead or Donald Duck. Cultural appropriation, feminist concerns and other similar burdens don't even exist. Hence the free flow of raw thoughts. Ultimate escapism.

I would love to enjoy a movie where the protagonist stood up for animals who could not defend their right to life. I would love to see dozens of poachers and their employers killed off by a dude who had his roots in the underworld. The simplicity of such a story would have attracted me to an enclave of the Marvel Universe where I wouldn't even need Spider-Man to get on board with the action and the dark humor.

And I believe this new installment has parts and pieces of such a movie - somewhere among the many scenes presented to us a feature. Alas, I just am not equipped to edit in and edit out stuff so as to reach THAT movie thanks to my own thought process.

Several times in the first hour, I found myself trying to be convincedthemovie had finally found its artery for all the remaining minutes to flood in. And every single time, MCU execs smiled behind the curtains with the treachery of having fooled me. It was like, they were whispering to one another: "Yeeesss, we used Calypso and the Foreigner, too, in addition to the Rhino, to make all the pieces work like a clock to NOT make artistic sense!"

Honestly, I guess one needs to find extreme satisfaction in the art of CLOSE MISSES to work so hard and so long on a project, only to make it devoid of a meaningful essence whcih the audience can invest in emotionally.

OverRussified and stripped off its promising, savage colors, this take on Kraven is a great case study on what went wrong with the Marvel Cinematic Universe as a decades-long attempt to carry the spirit of comics to cinema. Remember how we all loved Sam Raimi's Spider-Man movies. I had hated how they had changed mechanism of how Petter could crawl of surfaces, placing repulsive inside his fingers whatnot. Looking back, even such unfavored choices or Raimi prove to have honest, artistic reasons relating to how thesubject matter was seriously interpreted in an affectionate mind.

In this Kraven movie, I can find no traces of such bold changes. Yes, things have been changed, altered, played with... But in tune with what mindset? I could easily but it if someone went on and said: "Look, there were three scripts, each had their own qualitis, so we mashed all together and edited ot the parts that lacked violence, action and gore."

This is what it looks like. We get presented with the setup for a marvellous tale on how one teen can grow affectionate of wild life, in defiance of his unholy father. Then we jump into some B version of Bond where the bad guys kidnap his brother and somehow transport him half a world away, to what was probably the Sumela Monastery of Trabzons (hundreds of miles away from Ankara where a character claimed it was), for irrelevant protagonists and antagonist somehow show up almost simultaneously.

I just don't understand this kind of decision. Were they aiming at certain markets by feeding the already overplayed "Russians!" hand by placing in a Turkish connection? If so, why haven't they truly invested in that? After a point, every motivation, every piece of data and reaction begins to sound too phony.

One thing I find notable is: At least the MCU wing of Hollywood seems to be done with the PC BS of casting actors according to their actual heritage, race, whetever. That obsession to strip away from the process some key aspects of acting (like imitation, mockery, observation as an outsider) was ridiculous from the get-go. I can only imagine how more dull and devoid of imagination this movie would have been had it been an actual Russian actor who was given Russell Crowe's part. Despite all the elements that fail to hold, the man's genuine effort to portray the character gives you moments of reverse affection.

To sum it up: In order to enjoy this movie, you just have to resort to your own thought proess. You gotta delete the parts that didn't ring true to your taste. Then you gotta imagine extra scenes that would fill in the inevitable void.

There is merit to the problem Scorsese has with today's superhero movies. Cinematic creativity goes to the dustbin from the get-go when so many projects are being developed in such a rush, with hundreds of millions of dollars are being directed to serve commercial purposes.

The Kraven's story could have been told with minimal CGI, with little investment on the Russian mafia. They could have made a decent, strong, emotional movie where the protagonist stood up for animals who could not defend their right to life. We could have fallen in love not only with the Kraven and Calypso, but with the revengeful advocacy that connects them.

They just have preffered to keep such a valuable essence as a side note.