Death of a Unicorn
Genre: Fantasy, Comedy, Horror
Directed by: Alex Scharfman
Starring: Paul Rudd, Jenna Ortega, Will Poulter
Release Date: March 28, 2025
Platform: Theatrical
Rating: 2/5
“Forgettable and unfocused, the film squanders its potential—and its unicorns.”
When the marketing campaign for DEATH OF A UNICORN launched, the excitement was palpable—a stellar cast, an A24 production, and, yes, unicorns. What could possibly go wrong? The A24 logo typically signals a quirky, subversive film, often layered with sharp social commentary. Unfortunately, in this case, the logo feels curiously out of place.
The film follows Elliot (Paul Rudd) and his daughter Ridley (Jenna Ortega) as they embark on a trip to Elliot’s boss’ estate, where a conversation that could earn Elliot a long-awaited promotion awaits. On the way, Elliot accidentally hits a unicorn with his car. Rather than report the incident, he attempts to hide the body—because, in his mind, nothing is more important than securing that promotion. From there, chaos predictably unfolds.
While DEATH OF A UNICORN has all the ingredients for an eccentric, smart, and entertaining film, it ultimately never transcends its superficial premise. The storyline remains disappointingly one-dimensional. The wealthy family of Elliot’s boss is portrayed with such bland predictability that even the film’s attempts at social critique fall flat. Despite the film’s best efforts, the characters feel like caricatures, lacking depth or originality. Paul Rudd, typically charming, is surprisingly unlikable here. His character arc is rushed, and his supposed redemption in the final act is undercut by a jarringly out-of-character decision. Jenna Ortega once again finds herself playing the archetypal angsty teen—a role she’s come to embody so frequently that it now feels formulaic. Will Poulter tries to inject energy into the film, but his character is reduced to a string of punchlines, only a fraction of which actually land. The supporting cast—including Téa Leoni, Richard E. Grant, Jessica Hynes, Anthony Carrigan, and David Pasquesi—are sadly given little to do, and none of their performances leave a lasting impression.
At its core, DEATH OF A UNICORN is another entry in the growing subgenre of “eat the rich” cinema—a narrative aimed at exposing the corruption and callousness of the ultra-wealthy. While the message is easy to support, the film’s handling of it lacks nuance or originality. The social commentary feels more like a high school thesis than a sharp critique. Yes, Big Pharma is bad. Yes, the rich are often out of touch. But without layered storytelling or fresh perspective, these points feel more tiresome than thought-provoking.
The film’s only saving grace is, fittingly, the unicorns. There are a few visually engaging moments, and the surreal presence of unicorns in the real world adds occasional sparks of intrigue. However, these moments are few and far between. In the end, DEATH OF A UNICORN feels more like a studio’s attempt to mimic the A24 aesthetic than an authentic addition to the studio’s distinctive catalogue. Forgettable and unfocused, the film squanders its potential—and its unicorns.
