By Shannon McGrew
Since I first saw Cabin in the Woods, I've yearned for a horror movie centered around killer unicorns. Sure, a few films that feature them blur the line between horror and fantasy, but nothing quite like the brief yet unforgettable unicorn moment in Cabin in the Woods. Luckily, that all changed with the release of Alex Scharfman’s feature film debut, DEATH OF A UNICORN.
DEATH OF A UNICORN centers around a father-daughter duo, Ridley (Jenna Ortega) and Elliot (Paul Rudd), as they travel to a secluded estate to meet the affluent Leopold family, whose business is rooted in the pharmaceutical industry. While driving through the lush countryside, Elliot becomes distracted by a call on his cell phone, leading to a sudden, unexpected collision. When they check to see what they've hit, they discover something unbelievable—a unicorn.
Ridley feels an inexplicable pull toward the dying animal, especially its horn, but Elliot quickly ushers her away, insisting they need to get to the Leopold compound. In a hurry, they load the unicorn into the trunk, with Elliot promising to deal with it properly after the meeting. Once they arrive and profusely apologize to the Leopold family, Elliot dives into business as if nothing happened. However, Ridley remains visibly shaken by the experience, and it doesn’t take long for the Leopold's to notice that something is off.
When the Leopold's discover the unicorn in the car—and realize its horn has unique healing properties—their capitalist instincts kick in, and they immediately begin plotting the most profitable way to exploit it, especially since Odell Leopold is dying of a terminal illness. However, what they don’t realize is that the unicorn they hit was just a baby—and its parents are now fixated on the Leopold compound, determined to take vengeance on everyone responsible for their child’s death.
The cast chemistry is one of the film’s biggest strengths. Paul Rudd and Jenna Ortega are fantastic as a father-daughter duo navigating their strained relationship after a traumatic loss. While Elliot is consumed with closing the lucrative deal with the Leopold's—an opportunity that could change their lives—Ridley remains fixated on the unicorn they hit and the potential consequences. Their bond is tested in ways they never expected, with Rudd and Ortega delivering performances that tug at the heartstrings.
Téa Leoni (“Belinda”), Richard E. Grant (“Odell”), and Will Poulter (“Shepard”) bring the Leopold family to life, perfectly embodying wealthy elites who practice philanthropy solely for vanity. While all three give memorable performances, Will Poulter truly steals the show as the clueless nepo baby, desperate to take over his ailing father’s company despite having no idea how to do it—stumbling from one mistake to the next. Meanwhile, Téa Leoni and Richard E. Grant nail the dynamic of a couple you love to hate, balancing sugary-sweet responses with a dismissive, condescending attitude.
The supporting cast includes Anthony Carrigan (“Griff”) and Jessica Hynes (“Shaw”) as the Leopold family’s security and staff, while Steve Park (Dr. Song) and Sunita Mani (Dr. Bhatia) take on the task of preserving the unicorn’s healing properties. Although the film already leans into a humorous tone, Carrigan and Mani stand out with their unique presence, almost acting as a moral compass amid the unfolding chaos.
The unicorns themselves are magnificent to behold. Crafted with a combination of puppetry from Weta Workshop (Krampus, The Lord of the Rings) and CGI, these creatures were designed to be both awe-inspiring and terrifying. Admittedly, some of the CGI looks slightly off, almost undermining their intensity—but weirdly enough, that uncanny quality makes them even more unsettling. This is a refreshing choice, considering how many horror movies suffer from terrible CGI. The unicorns’ most striking feature is their horn, which holds immense power. The Leopold's obsession with harvesting the unicorn’s magic has an almost Lord of the Rings vibe, reminiscent of Gollum’s fixation on the ring.
It’s clear that Scharfman loves Spielberg-esque films like Jurassic Park and iconic creature features like Ridley Scott’s Alien—a nod made even more obvious by naming Ortega’s character Ridley. While Scharfman doesn’t fully reach Spielberg’s signature blend of heartfelt storytelling, dramatic visuals, and unseen horrors, he captures glimpses of that magic. And the gore? That’s perhaps the most surprising element. Scharfman doesn’t hold back when the unicorns unleash their fury. That horn may have healing properties, but it becomes a brutal weapon when the unicorns take control and exact their revenge.
Scharfman delivers an impressive debut for his first feature—even with a few missteps. What is the best way to describe DEATH OF A UNICORN? Imagine Jurassic Park colliding with the unicorn from Cabin in the Woods. You’ll laugh, jump out of your seat, and maybe even shed a tear. As wild as this movie gets, one thing’s for sure—it’s not easy to forget. DEATH OF A UNICORN is now in theaters.