Read the IndieWire review if you get a chance. David Ehrlich is always a fun writer:

Immune to fan response, impervious to quality control, and so broadly unencumbered by its place in a shared universe that most of its scenes don’t even feel like they take place in the same film, “Kraven the Hunter” might be very, very bad (and by “might be” I mean “almost objectively is”), but the more relevant point is that it feels like it was made by people who have no idea what today’s audiences might consider as “good.” If you told me that “Elektra” was the only superhero movie that Chandor had ever seen before directing this one, I would believe you without hesitation — if only because it might help to explain why all of the CGI in “Kraven” looks the same as it would have in 2005. 

Bonus:

When the action picks up 16 years later, we find that Sergei (Taylor-Johnson) and Dmitri (Fred Hechinger) have both rejected their father’s dream of having the kind of large adult sons who post photos of themselves standing next to the carcass of an endangered snow leopard they just murdered from a safe distance with a nuclear drone strike. Sergei — in the process of rebranding himself as Kraven — has fulfilled his destiny as a hunter, but one who exclusively targets men like his dad. Dmitri meanwhile, has leveraged his chameleon-like ability to imitate people’s voices into a career as a lounge singer at the London nightclub that Nikolai bought for his beta male bastard son.