Death Of A Unicorn Review: Great Actors Rescue A24 Horror-Comedy’s Obvious Script

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In the film “Cabin in the Woods”, one of the scientists yearns for the human sacrifices to be slain by a unicorn instead. Now, first-time director Alex Scharfman has brought that concept to life in his movie titled “Death of a Unicorn”. While it may not be a cinematic masterpiece, the idea of a “horror-comedy featuring unicorns as killers of wealthy individuals” is inherently entertaining. The strong cast helps to balance out the film’s script shortcomings.

Although Ari Aster, known for his dark and challenging films under A24, has a producer credit on “Death of a Unicorn”, this film seems to be part of A24’s new strategy to produce more commercially viable mainstream movies. Despite being an indie production (it qualified for SAG-AFTRA waiver during the strike), its tone is not aimed at the art-house crowd but rather filling the gap of mid-budget original genre films that major studios no longer produce. The movie can be likened to a project that studios might have tasked Tim Burton with 30 years ago; Scharfman doesn’t embody the striking visual style of classic Burton, but it’s interesting to note that Jenna Ortega, one of Burton’s current favorite stars, leads in this film.

In a different scenario, Ortega portrays Ridley Kinter, a tender teenager dealing with the loss of her mother, while her unsympathetic attorney father Elliot (Paul Rudd) pulls her along for a meeting with his wealthy biotech bosses, the Leopolds. During their journey to the Leopold’s mansion, Elliot inadvertently strikes a mythical creature resembling a unicorn with his rental vehicle… and then deliberately ends its suffering. Initially, the Kinters attempt to conceal the beast’s corpse from their hosts; however, they soon discover that the unicorn’s blood and horn shavings possess extraordinary healing abilities, curing Ridley’s acne and even eradicating Odell Leopold’s (Richard E. Grant) cancer. The Leopolds are eager to capitalize on this discovery, but Ridley, a prospective art history major well-versed in unicorn mythology, fears they’re meddling with powers beyond their control.

Another eat the rich satire

Titled “Death of a Unicorn,” this movie contributes to the current wave of films satirizing the wealthy class, but it doesn’t seem to offer anything particularly unique within this genre. While expecting it to match the wit and sophistication of “Parasite” might be too much for a light-hearted popcorn flick, it falls short even when compared to the contemporary cleverness of the “Knives Out” series or the ironic comeuppances in “The Menu.” It’s not as dull as “Triangle of Sadness” nor as unintentionally reactionary as “Saltburn,” but its impact on cultural analysis may be limited, serving primarily as a footnote in academic discussions about this trend. What sets it apart is that the wealthy antagonists are specifically associated with Big Pharma (though the film only hints at healthcare disparities). Alongside Adult Swim’s series “Common Side Effects” and the widespread intrigue around Luigi Mangione, one might speculate whether Big Pharma could become Hollywood’s new preferred villain.

Although the satire isn’t particularly outstanding, the actors manage to elicit some chuckles from it. Téa Leoni skillfully finds humor in Belinda Leopold’s pretentious charity, which seems to be a cover for carelessness (she’s unsure if her foundation is evacuating or vaccinating migrants). Will Poulter delivers laughs as crypto broker Shepard Leopold, who is stealing unicorn parts for personal use as recreational drugs. It’s not surprising that Richard E. Grant shines in his role as Odell Leopold; he’s excellent even in subpar films (like “Star Wars: The Rise of Skywalker”). The supporting characters are also well-cast, with Sunita Mani portraying Dr. Bhatia as the most genuinely troubled by the chaos, making it hard not to feel sympathy for her despite her own questionable actions. Anthony Carrigan steals the show as Griff, the butler, who has minimal screen time, yet manages to make every line memorable.

Jurassic Park with unicorns

In the sequences depicting unicorns taking their bloody vengeance on humans, “Death of a Unicorn” takes inspiration from “Jurassic Park”. Just imagine, instead of a T-Rex, it’s a unicorn approaching the car! Instead of hiding from raptors, it’s a unicorn that’s causing the chase. While Alex Scharfman isn’t Steven Spielberg, he manages to create action scenes effectively, making it enjoyable to watch nighttime sequences where you can clearly see what’s happening. The film pays tribute rather than copying “Jurassic Park”, although both stories share a common theme of caution against interfering with nature, albeit with a twist on the more relatable threat of humans hunting endangered species instead of bringing back extinct ones.

The screenplay struggles the most in delivering its main ideas effectively. It tends to repeat its points excessively, making them seem redundant, and telegraphs upcoming events so obviously that there’s little room for surprises. For instance, Ridley learns about the story behind The Unicorn Tapestries and shares it with others, explicitly stating the themes, only for those themes to unfold later in the narrative (a side note: it’s encouraging to see that the reasons against hunting unicorns are rooted in actual mythology rather than “Harry Potter,” which would have been a more likely influence a decade ago). Ridley continually reminds her father about their trip to see the Tapestries at the Cloisters with her mother, which serves as a clear indication of their emotional conflict but falls short as an effective dramatization – the conflict between father and daughter is the most contrived and unnatural aspect of the story. Jenna Ortega’s acting and the musical score by Dan Romer and Giosuè Greco are left to carry the weight of the predictable climax, imbuing it with any emotional resonance at all.

Watching ‘The Demise of Unicorn’ could be an enjoyable choice for a reduced-price matinee or part of your weekly movie rotation if you have a theater subscription like A-List. However, it’s not an absolute must-watch. The film contains mature violence, but I believe it could particularly appeal to teenage audiences. They might find the predictable parts less repetitive, and the ending should certainly delight young unicorn enthusiasts – until the final, surprising punchline, which may elicit a different kind of excitement.

“Death of a Unicorn” opens in theaters on March 28.

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2025-03-13 01:30