"Unicorns, Celebs, and Satire: Why ‘Death of a Unicorn (2025)’ is the Perfect Chaos"

Father-Daughter duo Elliott and Ridley hit a unicorn with their car and bring it to the wilderness retreat of a mega-wealthy pharmaceutical CEO.

https://www.youtube.com/watch?v=9cMIarrxLGs

I left the theater shaking my head and chuckling to myself, as if I’d just survived an acid trip curated by a sarcastic unicorn. “Death of a Unicorn” isn’t your everyday film—unless, of course, your everyday involves collisions with mythical creatures and pharmaceutical tycoons with a penchant for the bizarre. Now, I’m no film snob, but when a movie throws together a father-daughter duo (Elliott and Ridley) who literally run over a unicorn and deposit it at a secluded wilderness retreat belonging to a mega-wealthy pharma CEO, you know you’re in for a wild ride.

Let me break it down: this film is a heady cocktail of horror, fantasy, and comedy—a genre-blending experiment that dares to swim in waters too treacherous for the average superhero reboot. And trust me, I’ve had my fill of capes and brooding heroes, so this cinematic unicorn carnage was like a refreshing sip of irreverence in a sea of monotony.

Casting was an absolute masterstroke. Jenna Ortega, in a role that demanded both vulnerability and a steely determination, came aboard just as her career was about to skyrocket with her Netflix series, Wednesday. I imagine the casting directors practically sprinting to her door, clutching the script like it was the Holy Grail of unicorn lore. And boy, did she deliver! Jenna’s performance was layered, touching, and just the right amount of over-the-top—think “tragic heroine meets indie film rebel.” It’s like she said, “Sure, I can slay vampires and unicorns, but let me do it with a touch of class.”

Speaking of charm, Paul Rudd is here to prove that even in the midst of madness, a smile can be a weapon of mass distraction. Rudd’s performance as the ever-charming counterpoint to the film’s darker themes is nearly criminal in its appeal. He’s as delightful as a perfectly timed quip in a stand-up routine, almost to the point of being a distraction from the film’s more chaotic elements. Seriously, if there were an Oscar for “Best Understated Heroic Smirk,” Paul would have a trophy case by now.

Now, let’s talk about Téa Leoni. Oh, Téa! In her role, she was the epitome of elite snobbery—a performance so convincing that you almost believed she’d stepped out of an old Hollywood scandal. Her ability to ooze both sophistication and just a whiff of genuine realism was nothing short of mesmerizing. Leoni has a knack for transforming any scene into a masterclass in snark and subtlety; you can practically smell the aged cognac of high society in every word she utters.

Anthony Carrigan, always the wild card, managed to steal scenes without even trying. His silent presence as “Griff” was like that one friend in every group who rarely speaks but, when they do, everyone listens. Carrigan’s brief moments on screen were enough to anchor some of the movie’s off-the-wall humor, and I found myself laughing at his mere expressions and the mischievous glint in his eye. He is, without doubt, the unsung hero of “Death of a Unicorn.”

Then there’s Richard E. Grant, who plays with an elegance and wit that has made him a perennial favorite among critics and audiences alike. His performance was a masterclass in eccentricity, mixing a dash of the macabre with a healthy serving of satire. Grant’s character felt like a relic of a bygone era—a walking, talking reminder that sometimes, the real humor lies in the absurdity of high society clashing with the supernatural.

And let’s not forget Will Poulter, who rounds out this star-studded ensemble. Poulter’s performance added the perfect amount of youthful energy and naive wonder, balancing out the film’s darker, more sardonic tones. He embodied the character’s journey from incredulity to acceptance, a transformation that was as hilarious as it was heartwarming.

The plot itself is as audacious as it sounds. A father and daughter inadvertently run over a unicorn—yes, a mythical beast that most of us only encountered in our childhood daydreams—and then proceed to whisk it away to a retreat run by a pharmaceutical CEO whose moral compass appears to be as skewed as the rest of the cast. The storyline is so ludicrous that you can’t help but admire its ambition. It’s as if the writer said, “What if we took everything that’s weird about our society and blended it with a dash of mythology?” And voila, you have a film that is equal parts surreal and oddly reflective.

The film’s genius lies in its ability to balance the ridiculous with the profound. Amid the gore (which, I’ll admit, sometimes veers into the “so over the top it makes you squirm” territory), there’s a satirical undercurrent that jabs at our current political climate. Yes, some of the political banter is as subtle as a sledgehammer, especially in the opening scenes. But then, just as you start to feel like you’re being lectured, the film shifts gears into self-aware absurdity. It’s like being served a hearty steak with a side of ironic commentary—both filling and deliciously provocative.

I must confess, I walked out of the theater knowing that, by conventional standards, I had just witnessed a “bad” movie. But let me be clear: this is one of those rare instances where “bad” is not just acceptable—it’s gloriously entertaining. “Death of a Unicorn” is that type of film that makes you appreciate the sheer audacity of its creative choices. It’s like a car wreck you can’t help but watch, punctuated by moments of brilliance amidst the chaos.

The trailer alone was a thing of beauty. It ends with a shot of a black unicorn growling in Ridley’s face—a scene that’s as iconic as it is chilling. Ridley, with a name that’s a near-homage to both the director of the original Alien and a nod to the cinematic icon Ripley, stares down the beast with a look that screams, “I’m not afraid of you, but I might be slightly inconvenienced.” It’s a clever homage, one that both honors and parodies classic creature features. If you’re a fan of those eerie moments in film history, you’ll appreciate the tongue-in-cheek nod to the legendary xenomorph scene in Alien³.

There’s also an interesting backstory to the casting of Jenna Ortega. As Alex Scharfman revealed to The Hollywood Reporter, Jenna was approached right before her breakout role in Wednesday—a serendipitous moment that ensured her involvement in this quirky project. It’s almost as if the stars aligned, both literally and figuratively, to guarantee that this movie would have a magnetic allure. And given the results, I’m inclined to agree. Ortega brings a depth and nuance to her role that might be the only thing saving this film from total absurdity.

Beyond the laughs and the gore, “Death of a Unicorn” serves as a clever commentary on the creature-feature genre itself. Scharfman’s original unicorn concept wasn’t just about mythical lore—it was a deliberate engagement with the anti-capitalist subtext that has long pervaded films from Alien to Jaws and Jurassic Park. It’s a reminder that these larger-than-life beasts carry emotional and symbolic weight, resonating with us in ways that are as inexplicable as they are profound. The film challenges us to look at the familiar through an unfamiliar lens, forcing us to confront the absurdities of modern society and the insatiable hunger of capitalistic greed.

Sure, there are moments when the typecasting feels painfully obvious and the political commentary smacks of forced cleverness, but isn’t that part of the charm? The film doesn’t pretend to be high art; it revels in its own madness. And in that self-awareness, it finds its true voice—a voice that is both brutally honest and relentlessly witty. It’s a cinematic experience that doesn’t ask for your understanding; it demands your laughter, your disbelief, and ultimately, your appreciation for the sheer spectacle of it all.

In the grand tradition of “so bad, it’s good” films, “Death of a Unicorn” is a carnival ride through the bizarre, a satirical romp that leaves you questioning everything from societal norms to the very nature of myth. Yes, it’s a wild ride, and yes, it’s messy and imperfect. But like any great guilty pleasure, it’s exactly what the doctor ordered for those moments when you need a break from the mundane and a dash of delightful irreverence.

Ultimately, I can’t help but tip my hat to this film’s audacity. It’s an invitation to laugh at the absurdity of our world, to find beauty in the bizarre, and to embrace the unexpected twists that life—and cinema—throws our way.

7.1/10

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