When you think of unicorns, I would guess the first adjectives that come to mind are majestic, pleasant, and warm. You might even think about the old “Charlie The Unicorn” shorts on YouTube. No way would your mind immediately go to words like bloodthirsty, agitated, and territorial. That’s precisely how writer/director Alex Scharfman looks to flip this fictitious animal of wonder in ‘Death of a Unicorn.’ It’s a film that tries to serve as a big tent for many ideas. At times, it’s a “Jurassic Park-influenced creature feature. There’s also a satire about big pharma and an indictment on affluent families. In the center of all these competing themes, there’s a father-daughter story of them trying to come together at the end. While all these elements are fun due to the excellent cast, they never get a chance to gel. The film never elevates one part of the story as an anchor; thus, everything competes for space in the spotlight.
Elliot (Paul Rudd) is all about his career, and that’s why he’s dragging his angsty daughter Ridley (Jenna Ortega) to a weekend retreat in hopes of obtaining a huge deal with pharma oligarch Odell Leopold (Richard E. Grant). Right before they reach the massive compound, they hit a baby unicorn with their car. In horror and shock (a unicorn out in the wild will do that), Ridley grabs its horn and forms a psychedelic bond with the animal. That’s not all that happens, however.
There’s a chemical this unicorn holds that unexpectedly cures Ridley’s acme problem and Elliot’s vision. The link doesn’t initially hit the mother-daughter duo at first. This is until they realize what’s happening when they reach the Leopold residence. Odell is dying of cancer, and Elliot is thirsting to be a partner in his enterprise. The CEO is flanked by his extravagantly lavish-living wife Belina (Téa Leoni) and stuck-up son Shepard (Will Poulter). They aren’t initially sure of Elliot’s sensibilities, but now they have a premium cash cow (well, unicorn). The only problem is, if you hurt a baby, the parents aren’t going to like that. The film then builds into ensuing mayhem in which everyone battles against the lurking menace of two CGI-infused mythical creatures.
Death of A Unicorn / Photo Credit: A24
Scharfman knows he has a talented roster to work with, and usually, that would be enough to push a film like this across the finish line. Poulter’s banner with Grant and Leoni is funny at points. Anthony Carrigan as the Leopold family butler, Griff, is the secret comedic weapon throughout “Death of a Unicorn.” He’s subtle in his movements and lines in a way that is counter to the film’s overtness for wanting the audience to laugh along with it. Rudd and Ortega are good enough in a film that tries to show a father and daughter trying to come together after losing a loved one. But there aren’t enough scenes to give the story credence to earn the big moment the film is trying to invoke in the end. There’s something tied in Riley’s backstory where she serves as a conduit for the scattered lore of unicorn history, which is quickly given to another character.
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The CGI mixed with the practical effects of the kills are shown intentionally in an over-the-top nature. It’s a comedy, after all. Despite that, the deeper themes concerning the rich’s penchant for profits-over-everything feel surface level. “Death of a Unicorn” does not speak to anything new regarding that theme or twist it in a way that would be palpable. Instead, you end up disliking everyone to get their comeuppance — even if the story clearly wants you to feel something. If you do an eat-the-rich commentary within a narrative, it should feel great when the greedy ultimately get what is coming to them. “Death of a Unicorn’ places that burden on everyone and renders the central point rudderless in its wake.
Death of a Unicorn premiered at the 2025 SXSW Film & TV Festival. It will be out in theaters on March 28th, 2025.
