The concept of death has always been one that has confounded and incensed us as a species. Our finite time on earth is an inevitable fact, a harsh reality we must all face. And so, the idea of the fountain of youth or the concept of immortality is a story as old as time. Chasing a way to prolong our mortal existence dates back centuries; whether it be the Mesopotamian myth of Gilgamesh seeking immortality from circa 2000 BCE or modern-day scientists working to extend our lifespans, we want to do everything imaginable to stave off death. It's a central theme of A24's latest film 'Death of a Unicorn' - as well as the question, what price would you be willing to pay?
Elliot (Paul Rudd, 'Ant-Man' franchise, 'Ghostbusters' franchise) and his daughter Ridley (Jenna Ortega, 'Beetlejuice Beetlejuice', Netflix's 'Wednesday') are heading to the remote property of Elliot's exuberantly wealthy big pharma boss, Odell (Richard E. Grant, 'Saltburn', 'Gosford Park'). On the way, driving through the strange wilderness, they hit a peculiar creature — something that could only be described as a unicorn.
SWITCH: 'DEATH OF A UNICORN' TRAILER
Fearing it will be found and taking it with them, Elliot and Ridley arrive at Odell's mansion. They're greeted by his wife Belinda (Téa Leoni, TV's 'Madam Secretary', 'Deep Impact') and son Shepard (Will Poulter, 'Midsommar', 'We're The Millers'). When the family discover the deceased beast, healing properties from its blood and horn are soon revealed - but while the family wants to use this finite resource to profit, Ridley discovers a history of unicorns that should have them all sincerely concerned.
It's vital to mentally overcome the ludicrous concept of 'Death of a Unicorn'. With a recent slew of horror films like 'Winnie the Pooh: Blood and Honey', it would be easy for this film to fall into a farcical realm. Fortunately, it largely falls on the cast to prevent this from happening. It's a fantastic ensemble, with Ortega once again a serviceable (but perhaps not stellar) anchor for the film. Poulter is the scene-stealer here, taking the lion's share of memorable lines and moments.
If anything, the film takes itself too seriously. I will admit I went in with some preconceptions of what the film would be based off the trailer, and one was that it would have the elements of a black comedy. While it does offer the odd chuckle throughout, it's certainly not as funny as it could have been. There was so much potential here to poke fun at itself, the divide between the wealthy and the not, the fact that unicorns are real. I do perceive this as a missed opportunity, as the cast are clearly up to the challenge.
For those who are squeamish, you are going to want to look away (or perhaps avoid altogether), because the violence here is quite graphic. This will make a lot of horror fans very happy.
What this film is is a fable showing the consequences of greed. The unicorns have come out of hiding and are only there to get back what was taken from them, but in doing so, are willing to take out anyone who tries to stop them. The family, and several people associated with them, are trying to make a large amount of money out of the situation - in addition to the large amount of money they already have. It stands to reason that there is a price to pay for this greed, and systematically we see the unicorns inflict great suffering on those who forsake them.
This brings me to the next point, which is the film's gore. For those who are squeamish, you are going to want to look away (or perhaps avoid altogether), because the violence here is quite graphic - though not necessarily plentiful. We have entrails, we have head rushing, we have impaling, we have bludgeoning, all on full display. This will make a lot of horror fans very happy.
I fully appreciate writer/director Alex Scharfman's historical interpretation of unicorns. Only recently has the mythical creature been perceived as something cute and cuddly; traditionally it was seen as something much more dangerous as portrayed here. The tapestries that Ridley stumbles across in her research are real, currently on display at the Met Cloisters in New York. Tradition also says the horn holds medicinal properties. Without giving away anything, the film's third act with Ridley is also based on centuries-old stories. It's wonderful to have a film where the lore comes from something with a ring of truth to it; it adds a wonderful depth to the world and makes what should really be a ludicrous concept quite concrete.
Visually, the film is hit or miss. The cinematography by Larry Fong ('Kong: Skull Island', 'Batman v Superman: Dawn of Justice') is reminiscent of other recent single-location mystery thrillers; 'Knives Out' and 'Ready or Not' come to mind. The visual effects are a little more problematic - when used sparingly, they're more effective, but when we see the unicorns unobscured, the film's US$15 million budget becomes transparent.
'Death of a Unicorn' is an enjoyable cinematic experience, and one that ticks a lot of boxes for a lot of different demographics. Going in with reasonably high expectations, I'm happy to say that most were met. Grab this film by the horns and give it a good go; there's a solid chance you'll come out with a grin on your face.
