‘Death of a Unicorn’ Review: Paul Rudd and Jenna Ortega Lead an A24 Horror-Comedy That Balances the Absurd with the Predictable
L-R: Jessica Hynes. Téa Leoni, Will Poulter , Paul Rudd, Jenna Ortega and Anthony Carrigan in 'Death of a Unicorn' Photo via A24
A Darkly Comic Fable That skillfully weaves unicorn mythology with class satire— Alex Scharffman’s directorial debut is a visual spectacle, yet it struggles to break free from it’s own Limitations.
A24 has made a name for itself by blending horror with incisive social commentary, and Death of a Unicorn, directed by Alex Scharfman, is the latest in this tradition. At first glance, it has all the ingredients of a gonzo cult hit: a surreal premise, biting satire, and a star-studded ensemble led by Paul Rudd and Jenna Ortega. Yet, while Death of a Unicornexcels in moments of macabre humor and unsettling tension, its adherence to familiar genre beats ultimately dulls its sharper edges.
Premiering at SXSW before its theatrical release, Scharfman’s film presents a world where unicorns exist—but far from the noble creatures of legend, these mystical beings become the centerpiece of a grotesque corporate scheme. In its best moments, Death of a Unicorn is an offbeat morality tale about exploitation, power, and grief. But while its absurdist flourishes shine, the film struggles to justify its own mythos, leaving it entertaining but not as revolutionary as it could have been.
A Dead Unicorn, A Dangerous Secret
Jenna Ortega in Death of a Unicorn. Photo via A24
The film opens with compliance lawyer Elliot (Paul Rudd) and his daughter Ridley (Jenna Ortega) embarking on a trip to a remote estate, where billionaire pharma mogul Odell Ransom (Richard E. Grant) is set to decide the future leadership of his company. Elliot, a meek but well-intentioned widower, sees this as his chance to secure financial stability for his family. But their journey takes a bizarre turn when they accidentally hit a unicorn with their car—an event that becomes far more consequential than either of them could predict.
Unlike any ordinary roadkill, the unicorn has mystical healing properties, a fact quickly exploited by Odell and his eccentric, power-hungry family. Odell’s philanthropic wife Belinda (Téa Leoni) and his spoiled, entitled son Shephard (Will Poulter) see dollar signs, enlisting a team of researchers (Sunita Mani and Stephen Park) to study and harvest the creature’s biological gifts. Meanwhile, the estate’s overworked butler (Anthony Carrigan) and the Ransoms’ mysterious bodyguard (Jessica Hynes) stand by as chaos slowly unfolds.
While Elliot remains torn between self-preservation and morality, Ridley—a skeptical art history student—begins to question the history and lore surrounding unicorns. She uncovers a hidden thread that ties their fate to ancient myths, but the film barely scratches the surface of this potentially fascinating idea. Instead, Scharfman leans into well-worn genre territory, delivering a satirical eat-the-rich horror story that, while entertaining, doesn’t reinvent the formula.
Familiar Social Satire, Sharp Performances
Jenna Ortega and Paul Rudd in Death of a Unicorn. Photo via A24
At this point, audiences have seen enough The Menu-style class commentaries to know what’s coming: wealthy elites driven to unspeakable acts, working-class figures caught in the crossfire, and an escalating spiral of darkly comedic violence. Scharfman follows this blueprint almost to the letter, making Death of a Unicorn engaging but predictable.
That said, the performances elevate the material. Richard E. Grant is delightfully unhinged as Odell, channeling Saltburn-esque decadence, while Téa Leoni and Will Poulter add layers of charisma and menace to their entitled, morally bankrupt characters. The real scene-stealer, however, is Anthony Carrigan, whose deadpan butler Griff provides some of the film’s best comedic moments.
Rudd and Ortega, playing against the film’s broader absurdism, ground the story in something more personal. Their father-daughter dynamic is surprisingly heartfelt, offering an emotional counterweight to the satirical chaos. Their initial estrangement—fractured by grief and miscommunication—softens over the course of the film, culminating in a touching, if somewhat underdeveloped, arc.
Unicorns as Capitalist Metaphor—Or Just a Missed Opportunity?
Jenna Ortega and Paul Rudd in Death of a Unicorn. Photo via A24
One of Death of a Unicorn’s biggest missed opportunities lies in its mythology. The film teases a deeper meaning behind unicorns—Ridley references the famous Hunt of the Unicorn tapestries at The Cloisters, hinting at allegories of purity, sacrifice, and power. Yet, rather than expanding on this, the film uses the unicorns primarily as plot devices for horror spectacle.
The creatures—rendered through CGI that oscillates between impressive and artificial—are initially fascinating. Scharfman stages some genuinely thrilling moments with them, particularly as they transition from mystical beings to unpredictable forces of destruction. But their abilities seem to change based on the needs of the plot, and by the final act, they function less as meaningful symbols and more as a chaotic special-effects showcase.
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A Visually Striking but Safe Satire
Despite its promising setup and strong performances, Death of a Unicorn never fully transcends its influences. It’s darkly funny, well-acted, and visually arresting, but it plays things a little too safe in a genre that thrives on pushing boundaries. Scharfman proves himself a talented director with an eye for both tension and absurdity, but next time, he might be better served by taking bigger risks.
That said, A24 devotees and fans of satirical horror-comedy will still find plenty to enjoy—whether it’s the bizarre premise, the biting humor, or the committed cast. It may not be a unicorn of a film—rare, awe-inspiring, and one-of-a-kind—but it’s still an enjoyable, well-crafted ride.
RATING: ★★★½☆
Death of a Unicorn
Festival: SXSW (World Premiere)
Distributor: A24
Release date: March 28
Director-screenwriter: Alex Scharfman
Cast: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, Richard E. Grant, Anthony Carrigan, Sunita Mani, Jessica Hynes, Stephen Park
Running time: 1 hr 44 min
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