Notes
My quick rating - 6.3/10. In Death of a Unicorn, writer-producer Alex Scharfman delivers a bizarre, bold horror/comedy that blends family bonding, corporate greed, and mythical roadkill into one sharply satirical stew. It’s a strange ride, but a refreshingly original one that benefits from an unusually committed cast and a story that knows exactly how ridiculous it is.
The plot kicks off when a father (Paul Rudd) and his daughter (Jenna Ortega) accidentally hit and kill a unicorn on the way to a weekend retreat. Instead of spiraling into existential crisis, they nonchalantly toss the glittering corpse into the back of their SUV and continue to the secluded estate, where Rudd’s billionaire boss, played with cool detachment by a scene-stealing Téa Leoni (as Belinda), quickly discovers the unicorn’s miraculous curative powers and sets about exploiting them.
From there, the film pivots into horror territory, where things get surprisingly brutal. The unicorn isn’t the only one to meet a gory end. There’s a streak of violent creativity in the kills, which are executed with competent CGI and just enough flair to keep horror fans entertained. The unicorns themselves, particularly in later, monstrous forms, look surprisingly sinister, a credit to the visual effects team. The film was shot in Hungary, and it shows; the scenic backdrops and moody landscapes elevate the surrealism with a sense of eerie beauty.
Rudd and Ortega anchor the film with believable chemistry, grounding the outlandish premise in a familial dynamic that adds some emotional weight. The story even manages to sneak in some values about care, both human and animal, without ever feeling preachy. Téa Leoni’s Belinda is a welcome addition, charismatic and cutthroat in equal measure, and her presence is a reminder of how underutilized she’s been in recent years. Casting-wise, this flick recruited a very well-rounded group.
Tonally, the film walks a tightrope. It’s self-aware and openly ridiculous, never pretending to be anything more than a dark, fantastical genre mashup. The comedy doesn’t always hit—occasionally feeling oddly placed amidst the horror—but it never derails the film. If anything, the restraint in leaning into the absurdity is where the movie slightly holds itself back. With a bit more boldness in either the horror or comedic extremes, it could have hit a higher mark.
Still, Death of a Unicorn deserves credit for being something we rarely see: an original horror comedy that’s actually about something, even if it’s cloaked in glitter, gore, and satire. There’s ambition here, and though it doesn’t always fire on all cylinders, it delivers enough memorable moments, solid performances, and a unique tone to make it worth watching.
A good but not great creature-feature satire that is fun, inventive, and unexpectedly heartfelt, with just enough bite to make it stand out.
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