In Alex Scharfman's satirical horror movie "Death of a Unicorn", the iconic image of the unicorn is drastically reshaped from regal, benevolent creatures to ferocious Clydesdale-sized monsters. The movie, part of the indie studio's A24 brand, intertwines social commentary, grisly horror, and generational conflict in an unexpected and wildly eccentric plot.
The narrative is set amongst a severely narcissistic circle of self-styled elites and begins with Paul Rudd's character, a compromised lawyer named Elliot Kintner, accidentally hitting a unicorn with his car while traveling to a wealthy client’s secluded estate. The lawyer's daughter, Ridley, played by Jenna Ortega, forms a mysterious bond with the injured unicorn before her father decidely kills the beast. Arriving late to his meeting with a pharmaceutical tycoon, Elliot discovers that the unicorn blood has miraculous healing properties, a revelation that incites a fierce and cynical pursuit of profit among his company.
Only Ridley seems to question this single-minded chase, trying to discover more about the true nature of unicorns from the legendary "Hunt of the Unicorn" tapestries. Her study leads to the realization that unicorns are not as benevolent as believed, a fact confirmed when the slain unicorn's parents, far more formidable creatures, begin hunting.
"Death of a Unicorn" cleverly transitions from a sharp satire of the elite into a full-blown monster movie. Drawing inspiration from genre films and especially from the capitalist critique in “Jurassic Park”, the plot effectively juxtaposes the unicorn's monstrous revenge on the Leopold family with the audience disapproval of their ruthless exploitation.
Scharfman's script distinctively reflects current societal frustrations of millennials feeling ignored and unheard by older generations. The adult characters, with the exception of the Leopolds’ butler Griff, are portrayed as apathetic destroyers of the world that the younger generation would inherit.
Unicorn sightings in the film seem arbitrary and sporadic, and although Scharfman successfully challenges the conventional image of the unicorn, he fails to comprehensively communicate how the creatures behave. Additionally, the creation of the mythical characters leans more towards an inconsistent and unconvincing design that is too cartoonish to evoke real fear. Despite these flaws, Scharfman's new perspective on the unicorn representation, backed by extensive research, leaves an enduring impression.
