‘Death of a Unicorn’ Review: Paul Rudd Kills the Wrong Magical Creature in A24’s Biting Horror Satire

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Is there anything more heartbreaking than witnessing a unicorn’s demise? These magnificent (fictional) creatures symbolize the first endangered species – something innocent and pure that may have once roamed the earth, but undoubtedly no longer does, leading us to surmise that they were likely wiped out by mankind’s inhumanity.

Throughout history, art and folklore have consistently depicted a sorrowful sacrifice that sheds light on human character. This was evident in both “The Last Unicorn” and Ridley Scott’s “Legend” from the ’80s, and it’s been the symbolic role of these enchanting creatures for at least five centuries, since the creation of the renowned “Hunt of the Unicorn” tapestries. The latest addition to this theme is the darkly humorous and tragic film “Death of a Unicorn,” directed by Alex Scharfman, which falls neatly within A24’s quirky art-house genre. This movie uses the title’s tragic tale as a means to produce an extremely eccentric and unabashedly gruesome horror flick.

Instead of the graceful white horses you might have sketched as a child, these stories now feature bulky, Clydesdale-like creatures with menacing teeth, taloned hooves, and twisted head spikes – monstrous beasts ready to rip their victims apart limb by limb. In the contemporary setting of a distasteful group of self-proclaimed high society, Scharfman’s daring first novel introduces us to Elliot Kintner (Paul Rudd), a lawyer with questionable morals, who, on his way to meet a wealthy client at a secluded estate, accidentally hits a unicorn with his rental car.

As a film enthusiast, I found myself deeply moved by the character played by Jenna Ortega, my on-screen daughter in this dark narrative. She’s one of only two characters in this troubling ensemble who seems to possess a conscience. After witnessing an unsettling event, she is visibly shaken and traumatized. In an act of compassion, she rushes to help an injured creature, a pony-sized steed with a luminescent horn. This moment becomes a profound connection between them, briefly interrupted when her father, in an act of brutality, slaughters the animal with a tire iron, covering both of us in its indigo blood.

Elliot is running late for his meeting with Richard E. Grant, who’s a struggling pharmaceutical executive battling cancer, at his grand estate, a contemporary castle nestled within a wildlife sanctuary. Unfortunately, an unfortunate incident occurred beforehand, and when Elliot arrives, he tidies up quickly and tries to minimize the mishap. However, it turns out that the creature he hit wasn’t just any ordinary animal; it was a unicorn, and to his dismay, its body starts moving in the back of his car. This certainly complicates things for Elliot.

Initially, one might expect the hosts to be displeased, but their anger fades swiftly once Elliot reveals that unicorn blood holds magical healing powers. This revelation invigorates Odell in every aspect, as his cancer vanishes upon touch and the Leopolds stand to make a fortune marketing this treatment to their exclusive clientele. The situation appears rather cynical, with Scharfman critiquing the profit-driven motives that seemingly control all characters, except for Ridley. Ridley, however, expresses concern about the welfare of the animal and is determined to learn more about unicorns to better grasp their true nature.

Gazing upon the ancient unicorn tapestries at the Met Cloisters in New York, I found myself questioning the common belief of these creatures’ benevolence. As a new, bloodcurdling panel was added, depicting the once-peaceful animals now viciously disemboweling and impaling their attackers, my suspicions were confirmed.

Indeed, as the distraught parents of a road-killed foal searched for their lost baby, I learned that the spiraling horn these unicorns bear isn’t merely decorative but serves as a formidable weapon. With this revelation, it became clear that these unicorns were far more fearsome than most had ever imagined.

At approximately this stage, “Death of a Unicorn” takes an unexpected turn from sharp social satire, similar to “Saltburn” with its elite setting and self-indulgent aristocracy, into a full-fledged monster movie. Scharfman appears to draw inspiration from numerous genre films, yet seems most influenced by “Jurassic Park.” He updates Michael Crichton’s elementary critique of capitalist extravagance and Steven Spielberg’s knack for suspenseful creature reveals. This blend resulted in spontaneous rounds of applause at the SXSW premiere whenever the unicorns eliminated one of the Leopolds, demonstrating that the public still perceives punishing pharmaceutical tycoons as a fitting retribution.

Scharfman’s script skillfully draws upon various popular frustrations prevalent in today’s cultural climate, depicting Ortega’s character as embodying the disillusionment felt by many enlightened millennials towards older generations who seem to be ignoring and dismissing their perspectives. Apart from Griff, the butler of the Leopolds (played by Anthony Carrigan), most adults in the story are actively damaging the world for Ridley’s generation, and she doesn’t hesitate to voice her worries. The Leopolds risk facing her wrath if they continue to disregard her concerns.

Simultaneously, Odell and his possible inheritors, Belinda (played by Téa Leoni) and Shepard (notably played by Will Poulter), push the exploration of a new species to shockingly unethical levels. Upon Odell’s command, Griff is tasked with preparing an unusual unicorn steak, still purple in color and considered the rarest delicacy, symbolizing exclusivity. Meanwhile, Shepard, a former addict, finds himself unable to resist sniffing powder derived from grinding the highly prized horn. Although Poulter plays these scenes for comedic effect, it’s difficult not to reflect on the ongoing poaching of rhinoceroses for the supposed medicinal value of their horns.

For animal lovers, watching “Death of a Unicorn” is tough due to its dark and somewhat ominous unicorn characters, who are also self-defending. This movie stands out as more ambitious and imaginative than the usual studio projects, making allowances for some of its shortcomings. However, it seems that the unicorns’ appearance is sudden, even though they’ve been concealed in the Leopold wilderness preserve. While Scharfman does a good job challenging old unicorn myths, he could have done better explaining how these three behave. Interestingly, their dynamics shed light on Elliot and Ridley’s tense parent-child relationship.

The fundamental aspect that requires improvement in this film is the depiction of the unicorns. Despite advancements in visual effects over the past four decades allowing for the creation of virtually anything imaginable, the computer-generated unicorn-like creatures appear inconsistent and insincere. Although these creatures provide Scharfman an opportunity to critique the wealthy and their indulgences, the cartoonish design of the film’s creatures fails to instill fear or awe. However, it is thrilling to witness unicorns on the big screen once again, regardless of their form, and Scharfman’s comprehensive study of their history will ensure that his subversive interpretation leaves a lasting impression.

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2025-03-09 10:47