Drivers have collided with animals since the invention of the automobile. Among the more common victims of deer, squirrels and opossums, A24’s “Death of a Unicorn” proves any animal can be roadkill — even those from different mythological realms.
The movie begins, as expected, with the death of a unicorn. After Eliot Kintner (Paul Rudd) and his daughter Ridley (Jenna Ortega) hit a magical horned creature while driving through the Canadian wilderness, the pair bring the body to their final destination: an isolated lodge owned by Eliot’s employer. After the healing properties of the unicorn’s blood are revealed, a gory battle of ethics and greed ensues.
“Death of a Unicorn” is well-categorized under the genre of “comedy horror.” However, among frightened yelps and uncontrollable giggles, the audience also let out groans of annoyance and disinterest at some of the more over-done tropes seen throughout the movie.
The first of these clichés comes in the form of Ridley, a Gen Z caricature complete with a hidden vape, inexplicable wardrobe and little emotional variety from Ortega’s portrayal besides sarcasm and drama. Although Rudd also plays a somewhat farcical character, a workaholic single father with the best, misguided intentions, he excels in this archetype and makes it his own with impeccably timed comedic mannerisms.
The film hits its stride once the rest of the ensemble appears, centered around pharmaceutical mogul Odell Leopold (Richard E. Grant), his wife Belinda (Téa Leoni) and son Shepard (Will Poulter). The remainder of the cast consists of various attendants, from scientists to butlers, who work under the Leopold’s employ.
Leoni and Poulter both deliver wildly impressive performances. Leoni embodies a fabulously corrupt matriarch and delivers unexpected laughs with her blasé attitude. A manipulative son of excessive wealth, Poutler is always accompanied by a glass of fine liquor, swim shorts and new ideas to harness the power of his family. His line delivery and embodiment of character are exceptional, and he unwittingly delivers the film’s most complex performance.
Another character highlight is Griff (Anthony Carrigan), the Odell family’s butler. Through quick one-liners and hilarious characteristics, the side character steals the show on more than one occasion.
The last piece in the character puzzle is the mythical creatures for which the film is named. The family of three unicorns go from being symbols of cosmic absurdity to genuine monstrosities as their intentions are slowly revealed, more so from the “Jaws”-esque suspense and teasing of the unicorn’s final form than the subpar CGI work.
A film that takes place on one set runs the risk of becoming stagnant. However, the details of the lodge, with a touch of “Knives Out” coloration and a sprinkle of “Saltburn” atmosphere, make it an interesting place to spend an hour and 48 minutes.
Additionally, the pacing saves the film from stagnation and the structure is divided perfectly into two acts: the first is a glimpse into the conspiracy between a wealthy family of evil manipulators and the second is a gory horror story with all the right elements.
“Death of a Unicorn” ends rather ambiguously, which was a surprise from a film whose plot could have been predicted every step of the way. Although many critics are wary of movies that can’t seem to find an ending, this film is so rooted in absurdism that an ambiguous ending only makes sense. Although the trope of man’s hubris in the face of nature is nothing new, the lens of mysticism over the entire plot makes “Death of a Unicorn” a quirky, unique take on classic myth.
Rating: 3/5
