Written by Leah Kilde. Graphic by Laura Garcia.
Every fantasy nerd knows that although unicorns are beautiful creatures with healing properties, they are not to be messed with. “Death of a Unicorn” takes the legendary animals out of the modern fairytale box and reconnects it with its monstrous roots. For his directorial debut, writer and director Alex Scharfman collected a star-studded cast and crew, with Lauren Shelton (“Don’t Worry Darling”) and Ari Aster (“Midsommar”, “Hereditary”) as executive producers, to revive a medieval beast and remind audiences who the real monsters are.
Jenna Ortega (“Beetlejuice Beetlejuice”) plays Ridley, a disgruntled art history student getting dragged along to meet her father, Elliot’s (Paul Rudd), billionaire bosses, the Leopolds. While Ridley complains that the Leopolds’ new nature reserve is “reputational laundering for the oligarchy” Elliot gets distracted by the GPS and swerves into a unicorn crossing the road. Ridley shows compassion and connects with the injured unicorn, bringing gaudy extradimensional effects on screen, and Elliot smash cuts the visions off by mercy-killing it with a tire iron. The switch between the two nearly incomprehensible extremes begins a pattern of stark contrast, setting Ridley up early as the heroine who will save us from the comedically horrifying events that will unfold.
Throughout the film Ridley fights the Leopolds for Elliot’s attention, but Elliot is too busy being the archetypal oblivious horror movie character to listen. Ridley’s intuition also can’t compete with the Leopold family’s verbal promises of a seat on their executive board. The shifty billionaires, Odell (Richard E. Grant), Belinda (Téa Leoni) and their son Shepard (Will Poulter), bounce off of each other with lightning fast chemistry, knowing exactly how to poise themselves with power in every situation.
As soon as the Leopolds realize the unicorn’s healing abilities, they switch on their philanthropist facades interested in a pharmaceutical miracle. Richard E. Grant appeared as a similar affluent patriarch in “Saltburn,” but is brought further to the forefront in Schwarfman’s script. His old-money suave makes Odell’s insistence on taking extreme scientific measures feel natural for the cancer-ridden, wheelchair-bound billionaire. His representation shifts in the second act, he is no longer helpless and on the verge of death, but a man who has found a way to defeat it.
The only one apparent to the dangers at hand is Ridley. We follow her through an open-concept section of the mansion holding proof of the dangers lurking in the reserve’s expansive wilderness. Her frantic frustration is underscored by an upbeat track, composed by Giosuè Greco and Dan Romer, who’s quick tempo distracts Elliot and the Leopolds while Ridley and the audience are the only ones aware of its foreboding undertones.
The Leopolds’ obsession with capturing their newest source of income leads them down darker paths, tossing close confidants aside without a second thought. Scharfman is careful not to overemphasize the political nature of these characters through dialogue and allows their true selves to be revealed at their most fearful moments. Shepard uses a Gucci slipper as a defensive weapon while his father cosplays as “The Most Dangerous Game” runner. Their actions throughout the movie grow to outrageous extremes but the early passive aggression and subtle hints of man-above-nature ideology are well placed stepping stones to their final acts.
It’s not hard to guess the plot’s direction in “Death of a Unicorn”. Although the story is predictable, its smart editing, intuitive casting and evocative soundtrack work together to keep the audience laughing out loud and shielding their face with their hands. The film doesn’t take itself too seriously, but allows for moments, especially between Ridley and Elliot, to tug on viewers’ heartstrings. They find an understanding between themselves and the unicorns, reminding, or warning, us of the similarities between man and nature.
Leah is a writing major at SCAD. Outside of District she works as a Sports Information Assistant with SCAD Athletics. She loves exploring all things SCAD and sharing her experiences with the student body. When not working you can find her in her hammock at Forsyth, swimming at Tybee Island, or going on any adventure she’s invited to.
