Death of a Unicorn | SXSW 2025 Film Review

The premise of Death of a Unicorn feels drawn out of the drunken stupor of a rank-and-file studio exec who stumbles upon that random idea of greatness: what if a fractured father and daughter accidentally (mostly) pulverize a unicorn minutes before arriving at their wealthy benefactors home for an impromptu work weekend, which then draws the ire of its magical parents to gouge and feast in savage fashion on the wealthy as all fight to survive. See what I mean? It’s batshit insane. Yet, against all odds and reason, it works.

Paul Rudd and Jenna Ortega star as the aforementioned father and daughter team Elliot and Ridley, both still reeling from the death of Elliot’s wife and Ridley’s mother before the events of this film. Their relationship is in disarray, Elliot is too focused on career, Ridley tired of her father’s obsession with monetary gain as well as the oligarchy within his employer’s business. Elliot, a lawyer, is bringing Ridley along to help him seal a lucrative deal with the Leopold family which should set them up for life, until slamming their SUV into a unicorn upends everyone’s nerves.

The Leopolds – husband Odell (Richard E. Grant), wife Belinda (Téa Leoni), and son Shepard (a hilariously unhinged Will Poulter) – identify the apparently deceased mythical creature in the back of Elliot’s SUV and quickly discover the magical properties contained within the processing of its body elements. Rich people love to get richer, and we are off to the races with capitalizing on this opportunity. Even while a pair of bloodthirsty unicorns descend on their glorious mountain retreat.

Cast wise, there is not a disappointment in the lot. Rudd has been playing variations of Elliot his entire career and Jenna Ortega has basically built a career off of witty edgelords who piece the puzzle together (in this case the mythos of the unicorn), both are comfortably in their respective wheelhouses. Grant and Leoni are as delightful as ever, though it is their son Shep that truly shines. Will Poulter tap-dances skillfully between idiocracy and coked-out lunacy, and does so fluidly. The true star of the film, though, is Griff (Anthony Carrigan), the family butler. Carrigan rarely utters a word, yet when he does it screams volumes. Likewise, his physical reactions and comedic timing are exquisite and create that guttural laughter we all need from time to time.

As for the unicorns, the designs are impeccable, and whenever there is a practical effect or puppetry used, it almost resonates as a mythical being brought to life. Similarly, whenever director Alex Scharfman employs Jurassic Park techniques (subtle shadows and ominous hints to the onslaught), the movie shines. The film unfortunately falters whenever Scharfman and his team devolve into CGI, as this is far less captivating and at times distracting. Whenever CGI and practical effects converge, it leans into distraction even amongst the gleeful carnage.

Despite a few misgivings over the CGI, Death of a Unicorn writer and director Alex Scharfman delivers a promising debut feature stacked with laughs and gratuitous violence. It’s Cocaine Bear with unicorns, which might be the highest compliment I can give any film.