‘Death of a Unicorn’ Review: Paul Rudd and Jenna Ortega in an A24 Comedy Torn Between Absurdism and Predictability

by

At The Cloisters museum in New York City, there are seven intricately woven tapestries that tell a captivating story about a unicorn pursued by humans and eventually tamed by a virgin. This series has sparked intense academic discussion over the years, as historians have debated their symbolism for decades. Initially, interpretations focused on metaphors for marriage and fertility, but more lasting theories view them as representations of Christ. In his first directorial project, titled “Death of a Unicorn“, Alex Scharfman (a producer known for films like “House of Spoils” and “Resurrection“) explores a world where unicorns are not mythical, but real, and the tapestries serve as a cautionary tale.

In an upcoming release by A24, the film that debuted at SXSW, Paul Rudd and Jenna Ortega play a father-daughter pair who find themselves in a bizarre predicament. While en route to a crucial business meeting with a pharmaceutical magnate, the protagonist Elliot (Rudd), who is a timid compliance lawyer with severe allergies, and his college-aged daughter Ridley (Ortega) strike a unicorn on the road. A common animal collision would be expectedly distressing, but one involving a mythical creature proves to be even more unsettling. Upon exiting their SUV to assess the damage, Ridley establishes a spiritual bond with the creature in a vibrant psychedelic scene, while Elliot, overwhelmed by fear, repeatedly smashes it with panic.

In this grim opening scene, Scharfman, both director and screenwriter, sets the tone for “Death of a Unicorn” as an eccentric blend of horror and societal critique. Elliot recruits Ridley to accompany him for a weekend at the lavish home of Odell, a wealthy man near death (portrayed by Richard E. Grant in a character reminiscent of Saltburn). Odell is planning to appoint a representative for his company’s board, and though the specifics aren’t crucial, Elliot seems like an ideal choice given his diligence amidst his grief over his wife. The CEO invites Elliot to spend some time with his family at their grand estate to better acquaint himself with Elliot and essentially evaluate his reliability.

After the surge of social satire movies criticizing the wealthy, it’s clear that such a plotline often leads to conflict. When Elliot and Ridley enter the picture, they encounter Belinda, Odell’s charitable spouse played by Téa Leoni, and his rebellious son Shephard (Will Poulter). Also present are a stern security guard (Jessica Hynes) and an exhausted butler (Anthony Carrigan, who stands out in the scenes).

The main event begins when Odell’s family learns about the healing qualities of the unicorn, promptly brainstorming ways to capitalize on it. They invite renowned researchers Sunita Mani and Stephen Park to their home and recruit everyone to contribute to their profit-driven scheme. Ridley, studying art history, expresses doubts. She embarks on her independent inquiry, which hints at a grim outcome.

In a bold and eccentric storyline, “Death of a Unicorn” sets off on a promising note, but soon reveals that it lacks much room for exploration. Following the familiar path laid out by other movies in this genre, such as “The Menu” and “Triangle of Sadness“, Scharfman delivers numerous outrageous scenes, yet the plot itself remains surprisingly predictable. A chance to deviate from the norm arises when Ridley dives into the background of the seven tapestries, but Scharfman fails to explore this in depth, thereby missing an opportunity to delve into unicorn folklore.

The information provided would have been particularly beneficial during instances when our diverse, economically varied team engages in combat with the mythical horses. Although Scharfman skillfully creates engaging scenes featuring the computer-generated animals, portraying them as lethal creatures and delighting in the multitude of ways these regenerative beasts can perish, the inconsistency in their actions makes it difficult to fully immerse oneself in the narrative. The sense of danger seems less potent when the unicorns’ powers are altered according to the convenience of the storyline.

As a gamer, I was fully immersed in the captivating world of “Death of a Unicorn,” where Scharfman’s brilliant ensemble brought each character to life. Grant, Leoni, and Poulter masterfully portrayed their roles as wealthy elites who hid their cruelty behind a veil of generosity. Their interactions with their butler Griff, played by Carrigan (from “Barry”), provided a hilarious subplot that allowed for some clever physical comedy and perfect timing to flesh out what could have been a relatively shallow role.

In Rudd and Ortega’s performance, there is a subtle, delightful touch that enhances Scharfman’s movie. Throughout this unconventional journey, their once fractured bond due to sorrow undergoes profound transformations. On screen, they display a convincing chemistry as a father and daughter duo, effectively conveying the powerful emotional resonance of a crucial scene.

In the context of their bond, “Death of a Unicorn” establishes its ground and offers a fresh take on a commonly known tale. Prior to striking the unicorn, Elliot and Ridley grapple with the rugged terrain of their sorrow. Their dialogues are uneasy and disjointed due to the raw impact of an unexpected demise. Even when they’re in the same location, it seems as if they’re inhabiting distinct spheres. Although this journey doesn’t mend their wounds entirely, it does provide them with a slightly clearer understanding of each other.

Read More

2025-03-10 03:54