A24 releases great movies, and with Death of a Unicorn their turning the bizarre into brilliance. This latest offering from the indie powerhouse blends fantasy, comedy, and horror into a cocktail that’s as unpredictable as it is entertaining. Directed by Alex Scharfman in his feature debut, the film takes a premise that sounds like a fever dream—Paul Rudd and Jenna Ortega accidentally kill a unicorn, sparking a chain of absurd and bloody events—and somehow makes it work. It’s a testament to A24’s ability to find stories that defy convention yet resonate with audiences craving something fresh.
The film kicks off with Elliot (Rudd) and his daughter Ridley (Ortega) en route to a corporate retreat hosted by Elliot’s pharma billionaire boss, Odell Leopold (Richard E. Grant). Their road trip takes a sharp turn when they plow into a unicorn, a creature so majestic and unexpected that it feels like a punchline to a cosmic joke. Rudd’s everyman charm shines as Elliot panics, while Ortega’s deadpan skepticism grounds the absurdity. The duo’s decision to stash the body in their trunk sets the stage for a narrative that’s equal parts hilarious and horrifying.
What elevates Death of a Unicorn beyond a quirky gimmick is its stellar ensemble. Will Poulter steals scenes as Odell’s spoiled son Shepard, a crypto-bro parody who snorts unicorn horn dust like it’s the latest designer drug. Téa Leoni’s Belinda Leopold oozes oblivious privilege, while Anthony Carrigan’s under stress butler Griff delivers silent comedy gold. Richard E. Grant, as the dying tycoon with a gleam in his eye, ties the family together with a mix of menace. Each actor leans into the film’s offbeat tone, making even the wildest moments feel oddly believable.
Scharfman’s script dances between genres with a confidence that’s both admirable and occasionally chaotic. The comedy lands hard in moments—like when Shepard’s drugged-out antics collide with the unicorn’s magical properties—but the horror takes time to build. When it does, it’s a payoff: the unicorn’s vengeful parents storm the Leopold estate in a sequence that echoes Jurassic Park with a mythical twist. The gore is gleeful, the kills inventive, and the unicorns themselves are a striking blend of beauty and terror, their horns slashing through the screen like nature’s rebuttal to human greed.
Visually, Death of a Unicorn is a treat, thanks to cinematographer Larry Fong’s lush, moody frames. The Canadian Rockies provide a stunning backdrop, contrasting the opulence of the Leopold mansion with the untamed wilderness outside. The unicorns’ design—practical effects mixed with CGI—leans into their otherworldly allure, though some digital seams show.
At its heart, the film is a satire of wealth and exploitation, a theme A24 has mined before in films like The Menu. The Leopolds’ eagerness to profit off the unicorn’s healing blood—curing everything from acne to terminal illness—feels ripped from today’s headlines. Yet, the critique never digs too deep, opting for broad laughs over sharp commentary. It’s a choice that keeps the film light but occasionally leaves you wanting more substance beneath the sparkle.
The father-daughter dynamic between Rudd and Ortega provides an emotional anchor amidst the chaos. Elliot, a widower desperate to secure his family’s future, clashes with Ridley’s moral clarity, creating a tension that’s both funny and touching. Their reconciliation, set against the backdrop of unicorn carnage, is surprisingly tender—a reminder that A24 films, even at their weirdest, often find a human pulse.
A24’s track record for delivering hits remains intact with this one. Death of a Unicorn isn’t their deepest or most polished work—but it’s a damn good time. It’s the kind of movie that thrives on its own audacity, trusting its audience to embrace the ride.
Death Of A Unicorn arrives at Luna palace Cinemas Thursday, Apr 10, 2025.
Email:neill@outloudculture.com
