Review: ‘Death of a Unicorn’ is a rainbow of revenge
‘Death of a Unicorn’ explores the dark side of the enchanting myth, demonstrating the bloody consequences for interfering with one of nature’s most enthralling creatures.
Many fables and fantasies were born out of spectacular truths. Whether these stories were designed to explain the unbelievable or simply evolved over centuries like a game of broken telephone is less important than the influence they’ve had on culture and superstitions. Some of these tales centre on mythical creatures and monsters that have inspired other narratives and artworks, their legends growing beyond anything anyone would’ve previously imagined. They can be portrayed as instruments of evil or symbols of good, which sometimes depends on the values of the other characters they encounter. This is the case in Death of a Unicorn.
Elliot (Paul Rudd) is eager for this weekend getaway with his employer’s family to go well, begging his daughter, Ridley (Jenna Ortega), to be on her best behaviour since they requested her presence. However, their accidental encounter with a real-life unicorn on the way to the lodge nearly sidetracks the whole trip. Odell’s (Richard E. Grant) illness is nearing the end of its course and he’s considering bringing Elliot into the fold to help his wife, Belinda (Téa Leoni), and son, Shepard (Will Poulter), run their pharmaceutical enterprise. However, the unicorn’s magical properties soon take centre stage and all anyone sees when they look at the poor creature are dollar signs. But Ridley is sure they’re making a grave mistake that they will all regret.
Writer-director Alex Scharfman’s feature debut is predictably dark, yet it retains an unexpectedly light sense of humour throughout the film. Everyone besides Ridley is completely absurd. Elliot’s desperation is almost comedic as he contorts himself to avoid offending his beneficiaries, convinced they must not jeopardize the financial opportunity this partnership presents. Meanwhile, Odell, Belinda and Shepard are stereotypical rich people, superficial and uncaring of the consequences of their actions. The irony is they’re blinded by the potential profit, yet can’t resist squandering their scarce resources. Ridley tries to be pragmatic in the face of their greed, but no one — except maybe the obedient servant Griff (Anthony Carrigan) — wants to hear about history or folklore, no matter how relevant it might be.
Dealing in mythical creatures gave Scharfman carte blanche in developing the story. He built on the basic unicorn legend, weaving in a sinister undertone to create a wicked horror fantasy that fuses beauty and malice. As many grew up with unicorn imagery on their walls and school binders, it’s heartbreaking to watch any of the horrible things that befall the title beast — a sentiment amplified by the convincing practical creature effects. Just as audiences feel an intrinsic connection with the fabled horse, they are repelled by the wealthy family’s capitalism. Unfolding over approximately 24 hours, the story becomes progressively darker, though it certainly could have delved deeper into the shadows. Instead, the unicorn’s enchantment proves irrepressible, even in the face of blood and death.
Director: Alex Scharfman
Starring: Jenna Ortega, Paul Rudd and Will Poulter
