Jenna Ortega Takes on Unicorns in ‘Death of a Unicorn’ – Review

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Historically, unicorns are often associated with a softer side of popular culture, typically appearing in areas like plush toys, coloring books, and posters adorning the walls of young girls’ rooms – quite a departure from anything that could potentially instill fear.

Restaging them in a comedic horror setting is similar to reimagining Jaws with once friendly dolphins as the terrifying antagonist. The Death of a Unicorn is not the first time that popular childhood characters have become the sinister villains on the silver screen.

It’s great that this movie surpasses both Five Nights at Freddy’s and Winnie the Pooh: Blood and Honey (both 2023) in quality, but even so, writer-director Alex Scharfman’s comedy-horror still pushes the limits of its potential.

Surprisingly shaken for multiple causes, Ortega reaches out to touch the creature’s horn, only to be greeted by strange celestial images flashing through his mind moments before a concerned father hastily grabs a tire iron to end the injured monster once and for all.

Wrapping up the deceased in their car, they traveled to their destination; however, upon arrival, they found that other residents had discovered the gruesome package inside. Recognizing that Rudd’s act of kindness hadn’t succeeded in killing the creature, one house guest decided it was necessary to finish the job with a firearm.

The absurdity escalates; a team of scientists working under Richard E Grant’s superior also attempt grinding the unicorn’s horn as a potential cancer treatment component – yet the unicorn remains alive, and increasingly agitated unicorns (revenge-seeking ones) appear to torment the unfortunate humans with persistent headaches.

Absolutely, a movie that portrays danger as stemming from the term “U” undeniably maintains a lighthearted approach. Despite the complex undertones of themes like ambition, avarice, and devotion, Scharfman seems to delight in the absurdity, excessively embellishing his fantastical scenarios with great joy.

The atmosphere is tense with references to past terrors, there are hints of siege-themed thrillers, a dash of humor, and witty dialogues filled with hilarious jokes from an enthusiastic group of diverse characters.

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There’s a sense of anticipation as we revisit old fears, there’s a hint of the siege movie genre, a sprinkle of comedy, and sharp, funny conversations between an energetic mix of characters.

It’s understandable that one might ignore the far-fetched nature of the storyline and its excessive details, given how entertaining it is to watch such an energetic group obviously enjoying themselves.

At first, the uneasy relationship between Rudd and Ortega resembles that of Jeffrey Jones and Winona Ryder in Beetlejuice. However, as things progress, their interaction becomes more lively, allowing both actors to draw humor from subtle, perfectly timed gazes.

At the start, they’re like characters in Beetlejuice with an awkward relationship. But as events unfold, they develop a livelier connection, and their humor comes from clever glances at just the right moments.

Initially, Grant appears to be reprising some over-the-top and eccentric aspects from his iconic character in Withnail and I. However, given the somewhat caricatured narrative of the movie, Grant’s jittery enthusiasm harmoniously complements the overall feel of the film.

As a cinephile, I can’t help but acknowledge the remarkable performance of Will Poulter, who mirrors every move of his on-screen father with an equally detestable charm. He masterfully portrays the essence of selfishness and privilege, leaving a lasting impression. Although Téa Leoni’s screen time might be limited, her portrayal of Grant’s wife exudes the epitome of high-class snobbery, embodying elegance and aloofness perfectly.

Towards the end of the closing credits, Jessica Hynes makes an appearance, playing the role of the wealthy family’s assistant. Although her screen time is not extensive, it’s plausible that she feels right at home amidst the absurd chaos, considering its similarities to the fantastical elements found in Spaced, a 1990s sitcom which she co-wrote and acted alongside Simon Pegg.

Perhaps it would have been more suitable to focus on a streamlined comedic setup, given the time constraints imposed by television, as the current one seems overly complex and crowded.

If the narrative had stronger pace suitable for full-length films, then the tale might hold its own, as this specific unicorn possesses the necessary horn, but lacks the stamina.

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2025-04-02 14:05