I’ve always admired A24 for taking risks with movies. The studio isn’t by-the-books when it comes to what it releases and the studio’s films can range from incredibly dramatic to incredibly weird. Death of a Unicorn falls into the latter category. It’s a fairly wild concept that is paired with even wilder onscreen deaths by unicorns (as though we expected anything less considering the тιтle). Writer-director Alex Scharfman makes his directorial debut with an ambitious movie that is as crowd-pleasing as it is buzzing with energy.

Death of a Unicorn’s cast is impressive and they’re game for just about anything the script throws their way, which is just about everything. The film follows Elliott (Paul Rudd), a single father and lawyer, who brings his college-age daughter, Ridley (Jenna Ortega), to the middle of the wilderness to meet with the Leopold family — Odell (Richard E. Grant), his wife Belinda (Téa Leoni), and their son Shepard (Will Poulter) — at a summit. Elliott is primed to be the family’s proxy in the company and he’s excited because he thinks it’ll secure his and Ridley’s future financially.

Since the death of Elliott’s wife and Ridley’s mother, the father-daughter duo has grown apart and Ridley is annoyed her father is sucking up to the Leopolds. She’s more concerned with repairing their relationship, but Elliott is focused on doing anything to protect his daughter in the only way he knows how. Of course, trying to save her from the unicorn he hits driving to the Leopolds isn’t exactly something he pictured doing. After hitting the unicorn, though, things go predictably and unexpectedly, setting the stage for an outrageous rollercoaster ride.

Will Poulter’s Performance Is A Highlight Of Death Of A Unicorn

But Everyone In The Cast Is Having The Best Time

Death of a Unicorn would be nothing without its cast. Paul Rudd and Jenna Ortega are the perfect father-daughter duo. They have great chemistry and the tension between them is also palpable. Often, they communicate to each other using just their facial expressions, and it is mined for comedy to great effect. Their relationship is at the heart of the film and it’s intriguing enough that I craved more of their fun dynamic. Rudd is the comedic rock in the duo while Ortega grounds the film with emotion and compᴀssion that is missing from other characters.

Richard E. Grant makes for a delightful antagonist who revels in his character’s obnoxiousness with gusto. Supporting characters like Anthony Carrigan’s Griff and Sunita Mani’s Dr. Bhatia are excellent and aid with the film’s comedy. Téa Leoni is great as always, though I would’ve loved more for her. She’s one of the only main actors who doesn’t get as much to do.

Ultimately, it’s Will Poulter who steals the show as Shepard. Poulter’s character goes through phases. First, he’s polite and even attempts to be friendly towards Elliott specifically. When things take a turn and the unicorns come calling, Elliott’s shifts with the situation, eventually devolving but with a heightened sense of unhinged purpose. Poulter is a delight at every moment, bringing more levity to the stressful situation, but he’s also, like Rudd is sometimes, somewhat awkward and fun.

Death Of A Unicorn Is Almost Too Funny For Its Own Good

The Comedy Isn’t Fully Balanced With Other Things

While genuinely hilarious, Death of a Unicorn also doesn’t take the time to breathe once the unicorns are unleashed. Elliott and Ridley’s relationship is barebones and could’ve used a few more scenes of conversation to flesh it out further. Elliott is so hyperfocused on pleasing the Leopolds that he barely lets Ridley talk, which can grow a bit tedious after the umpteenth time. The film also keeps coming back to the same lore of the unicorns without expanding on it — though it at least doesn’t include the one seemingly obligatory scene where one person is just giving exposition and leaving it at that.

It’s so focused on the suspense and tension between the two families that it doesn’t dig too much into its great themes. The extremely wealthy and their exploitative ways, who gets access to life-saving medicine, grief, acceptance of death, and wanting love and affection over money are all laced into the film. But they’re barely explored beyond the surface, as the film prioritizes the comedy and gore over everything else. Don’t get me wrong, comedy is one of the film’s best qualities, but it’s also a hindrance because it doesn’t let up enough to make room for more meaningful interactions.

Despite this, Death of a Unicorn is incredibly entertaining. It’s weird and a bit goofy (in the best way), with a satisfying ending and character interactions that are off the wall. The creature design is excellent and I was breathtaken when we got close-ups of the unicorns. They’re majestic and horrifying at once.

The film is meant to be seen with an audience who will laugh along with you as the exceptionally gory kills get more vicious. One particular death had the audience clapping, which is exactly the reaction it needed. The film’s payoff is great, too, landing with a balance of heartwarming emotion, humor, and a surprising kill. Death of a Unicorn is the kind of film that’s happy to take us on a bloody, uproarious ride and I was more than willing to let it.

Death of a Unicorn had its premiere at the 2025 SXSW Film & TV Festival.