‘Death of a Unicorn’ is a perfectly-executed character-driven comedy

By Ben Konuch

“I get this feeling that I don’t think we’re supposed to be here.”

I had no idea what to expect when I went to see “Death of a Unicorn.” It’s the latest film from A24, the indie studio that’s now become an alternative to the mainstream, with a trailer promising an intriguing mixture of satirical comedy and dark, creature horror. And yes, the creature horror in question is the titular unicorn. Sporting a star-studded cast that included Paul Rudd, Jenna Ortega, Will Poulter and Hugh Grant, the unapologetically weird premise and title of “Death of a Unicorn” left me uncertain what kind of film experience I was going to get.

As it turned out, “Death of a Unicorn” was one of the funniest character-driven comedies I’ve seen in a long time. Anchored by the incredible comedic delivery of its cast and filled with just the right amount of ridiculousness and surprisingly effective tension, “Death of a Unicorn” was a film wellworth a watch for some laughter and entertainment.

The film follows lawyer Elliot Kitner (Paul Rudd) and his daughter Ripley (Jenna Ortega) as they embark on a trip into the Canadian wilderness to bring the eccentric Leopold family, who own a pharmaceutical behemoth, the last will of their dying patriarch. The first trip together since the Kitners lost the misses, the journey takes a turn when Elliot hits and mortally wounds a unicorn foal. In fear of ruining his impression with his wealthy clients, Elliot hides the foal in the trunk – much to the chagrin of Ripley, who made an unexplainable connection with the creature – and inadvertently brings a magical and dangerous world directly to the doorstep of his wealthy employers.

The first half of the film revolves around the wealthy Leopolds discovering that the unicorn has remarkable healing properties and determining how to mine it for parts. At the same time, Ripley begs her father to leave the mansion before something dark comes after them for what they took. This beginning half is heavy on the comedy of the over-the-top Leopolds while weaving together threads of drama as Elliot becomes more of a yes-man to his wealthy employers than a father who cares about his daughter. As the gap between father and daughter widens and the disconnect between the exploitative Leopolds and Elliot lessens, the satirical commentary on the rich elite turns nightmarish as another unicorn hunts for those who killed its child.

Don’t make the mistake of the family with young kids sitting next to me in the theatre, “Death of a Unicorn” is not a children’s film. If the R-rating and the bleak title didn’t somehow give it away, the film is full of unexpectedly gruesome deaths – even for a horror film – and adult themes. That being said, “Death of a Unicorn” somehow balances its opposing ends remarkably well, delivering a film that knows when to be ridiculous and when to play it a bit more seriously.

The premise is ridiculous, and the film knows it. There’s a general tongue-in-cheek nature to the tone of the entire movie, and it’s surprisingly endearing. “Death of a Unicorn” doesn’t try to go too far with its satire or its themes, which are presented clearly while still serving the story instead of the other way around, which is never a guarantee for satire. The film’s comedy never crosses too far into absurdity and even its most insufferable characters never become too obnoxious or frustrating to laugh at, ensuring that “Death of a Unicorn” never overstays its welcome.

While its story was bare-bones, the casting was perfectly executed to allow the actors to carry the film with their natural charm and comedy. Will Poulter as Shepard, the heir of the Leopold dynasty, was probably the funniest writing and line delivery of a character in recent memory. Every single line out of his mouth was somehow never what I expected, and I couldn’t stop laughing at his deadpan comedic delivery. Equally hilarious was Anthony Carrigan, who played the Leopolds’ butler Griff, who kept being placed in wrong-place-at-the-wrong-time situations while maintaining his forced politeness as a butler.

Surprisingly, Paul Rudd doesn’t play a very comedic character. His character, Elliot, is often pushed to the sideline when sharing scenes with more bombastic characters, but Rudd gives him a specific charm and presence that prevents him from being forgotten. Jenna Ortega likewise performs well here, but as the “sensible” character that more serves as a control group to the out-of-touch opulence of the Leopolds. The father and daughter dynamic between the two is funny and touching enough when it matters to give “Death of a Unicorn” a bit of emotion where it needs to be.

So, is “Death of a Unicorn” some hidden masterpiece? No, and its humor may not be funny for everyone, but if you enjoy comedy that’s heavy on clever line delivery and over-the-top ridiculousness, it might be the film for you. There are enough times when the film knows when to peel back the curtain of comedy to allow a bit of heart to shine through, ensuring that “Death of a Unicorn” is a satisfying satire that prompts you to laugh with it instead of laughing at it.

I give “Death of a Unicorn” a score of 8.5/10

“Death of a Unicorn” is now showing in theaters

Ben Konuch is a senior Strategic Communication student who serves as a writer for Cedars A&E and as their social media lead. He enjoys getting sucked into good stories, playing video games and swing dancing in the rain.

Images courtesy of A24