Horses gallop uneasily into less-than-mythic filmmaking in ‘Death of a Unicorn’
Revitalizing the beloved, horned horse myth figure with ferocious bloodlust is an idea so vibrant and appealing that it sustains your anticipation for the horror-comedy “Death of a Unicorn,” despite the fact that your mind frequently strays from the actuality, revealing a film striving to be cult but largely running in place instead.
Alex Scharfman, striving to emulate the playful vibe of Joe Dante from the “Gremlins” era (had he remade the Tom Cruise fantasy “Legend”), undeniably has the enthusiasm of a mischievous child, waiting for adults to fall asleep before embarking on an eerie escapade with someone’s doll collection. A portion of this eeriness is maturely handled, tackling themes such as grief, ecological devastation, and capitalist exploitation alongside its gruesome fantasy elements. Unfortunately, what promises to be a delightful fright turns out to be more of a yawn.
In this situation, the initial distressing event involves Ridley, a sensible college student played by Jenna Ortega, who is upset about joining her lawyer father Elliot (Paul Rudd) on a business trip. Their destination is a remote wilderness facility belonging to Elliot’s employer, the ruthless pharmaceutical family known as the Leopolds, led by a terminally ill matriarch or patriarch, Richard E. Grant. While arguing on a winding road, their rental car accidentally strikes and fatally injures a young unicorn.
Somehow, they manage to store it in the trunk. Strangely, their closeness to this peculiar self-healing animal causes Ridley’s acne to vanish and Elliot’s eyesight to become sharper. However, the Leopold family perceives a potential new empire of wealth from the sale of its curative properties, such as the unicorn’s vibrant, shimmering blood and the enigmatic powers of its horn that occasionally glows.
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Ridley finds herself appalled by the mistreatment of animals, prompting several Leopold researchers to delve into laboratory work. Yet, she’s not just disgusted; she’s disheartened that her father, a widower trying his best to bond with her, is attempting to profit from this situation by seeking partner status in the venture. As she explores art history online, she uncovers evidence suggesting these mythical creatures may possess the ability to defend themselves when provoked. This revelation could complicate things.
Typically, when contemporary folk-horror films begin to reveal their plotlines, it’s usually a sign to sigh and move on. However, Scharfman’s idea is quite innovative, and although the impending tension might sometimes become dull, it occasionally generates an unsettling enjoyment.
In this film, alongside Grant’s single-minded character Odell Leopold, there’s a charmingly self-important Téa Leoni portraying his image-rebuilding philanthropic wife (who gets confused about whether their organization is evacuating or vaccinating refugees). The movie also features a hilarious performance by Will Poulter as their spoiled, frat-boyish son, who embodies the funniest depiction of obliviously malicious ambition. (Anthony Carrigan from “Barry” comes in a close second for laughs with his role as the family’s harried servant.)
The dissatisfaction arises from the monotonous and unimaginative chaos when the fierce, aggravated unicorn parents come to attack. Furthermore, Scharfman’s created mythology and the repetitive father-daughter storyline (skillfully portrayed by Rudd and Ortega) tend to hinder our craving for genuine emotional release found in a classic monster movie.
Unfortunately, it’s disappointing that the visual effects lack consistency and range greatly in quality. Fans of monsters might expect a delightful blend of the whimsical chaos reminiscent of early Peter Jackson or the breathtaking realism similar to “Jurassic Park,” but their expectations will be sadly unmet. In “Death of a Unicorn,” the climactic excitement doesn’t measure up to the earlier satire of the wealthy, which presents a more fitting retribution that leaves much to be desired.
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2025-03-28 02:01