Death of a Unicorn (2025) - Film Review

      **Death of a Unicorn, 2025.**

      **Written and Directed by Alex Scharfman.**

      **Starring Paul Rudd, Jenna Ortega, Will Poulter, Richard E. Grant, Téa Leoni, Sunita Mani, Steve Park, Anthony Carrigan, and Jessica Hynes.**

      **SYNOPSIS:**

      Elliott and Ridley, a father-daughter pair, accidentally hit a unicorn with their car and take it to the wilderness retreat of a wealthy pharmaceutical CEO. With a fascinating premise centered around revenge, where a group of wronged unicorns seeks retribution against a wealthy pharmaceutical family for selfishly using one of their deceased kin in experiments aimed at replicating miraculous healing powers potent enough to cure cancer, first-time writer/director Alex Scharfman’s *Death of a Unicorn* also cleverly frames itself as a critique of animal cruelty through slasher elements. However, Scharfman appears less interested in this narrative and more focused on one-dimensional characters—both human protagonists and antagonists—and superficial jokes about the affluent. This isn’t to suggest that Bong Joon Ho is immune to missteps (he had one this month), but it raises the question of how much more impactful and activist-driven this concept could have been in his hands.

      Equally surprising is the way Jenna Ortega’s Ridley establishes a fantastical, spiritual, and possibly emotional bond with the unicorn before its demise. She embodies the noble voice of reason, yet the story primarily explores her ongoing grief over her mother's terminal illness, while her relationship with her father, Elliott (Paul Rudd), deteriorates due to his misguided obsession with securing a work promotion that ties him to the mentioned pharmaceutical family. This allegiance potentially places him in a similarly elitist class that could financially support her.

      Their relationship worsens when Elliott hits a unicorn on the road and opts to "mercifully" end its suffering. Ridley is depicted as non-materialistic, showing indifference to wealth, and argues with her father during the drive to their remote family compound. Nevertheless, Elliott is frustratingly crafted, failing to recognize or comprehend her perspective, as the narrative demands this dynamic to highlight the contrasts between parents of varying social standings. While Paul Rudd’s portrayal brings a goofy, endearing quality to Elliott, the reliance on his character becomes increasingly apparent as a means to compensate for weak writing.

      When chaos ensues, Ridley resorts to my least favorite horror trope: urgent Internet research that provides all the pertinent details instantly. Unsurprisingly, those around her, including her father, dismiss her warnings because they are captivated by the prospect of wealth (not to mention that the unicorn's blood also alleviates her acne and Elliott’s allergies).

      *Death of a Unicorn* leans into comedy, starting off amusingly as we meet the self-absorbed family, including the ailing patriarch Odell (Richard E. Grant), his wife Belinda (Téa Leoni, reminiscent of her role in *Jurassic Park III*, which feels like possible stunt casting due to thematic parallels), their entitled son Shepard (Will Poulter), and the overworked yet unappreciated butler Griff (Anthony Carrigan, who ironically steals scenes with his disdain for the family).

      However, the humor quickly overstays its welcome, as Griff ultimately resorts to using the unicorn substance as a cocaine substitute, leading to a hyperactive, enlightened state that is amusing initially but becomes tiresome by the third iteration (despite his otherwise effective portrayal and the laughs stemming from his oblivious cruelty in managing Griff). The characters continue to overlook the smartest individual in the room out of sheer greed. The film fails to capitalize on the compelling dynamic where Ridley, who is still grieving, attempts to mend things with a unicorn family that has lost their youngest.

      Much of what starts as humorous gradually reveals itself to be shallow and unfulfilling (even the expected emotional arcs fail to resonate). There’s also an unnecessarily drawn-out build-up to the unicorns retaliating. While some deaths are undeniably brutal, others are played for laughs at the expense of their impact. Thankfully, many of these moments occur at night, somewhat masking the low-budget special effects. However, the overall lighting is poor and lacks the vibrant colors found in daytime scenes.

      Nevertheless, the premise of *Death of a Unicorn* is catchy enough to sustain the film, especially with Jenna Ortega and Paul Rudd playing off each other. Though their storyline feels empty, it doesn't prevent her from effectively portraying a strong voice of reason or him from delivering spot-on comedic timing.Regrettably, it ultimately serves a movie that feels like it's making a desperate bid for relevance throughout its runtime.

      **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★**

      Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He also serves as the Flick