Movie Review: 'The Death of a Unicorn' is Weird, Scary, and Fun
I had a great time with Paul Rudd's new movie The Death of a Unicorn.
The Death of a Unicorn
Directed by Alex Scharfman
Written by Alex Scharfman
Starring Jenna Ortega, Paul Rudd, Tea Leoni, Will Poulter, Richard E. Grant
Release Date March 28th, 2025
Published March 28th, 2025
Did you know that there is a website that will tell you whether or not a dog in a movie dies? DoesTheDogDie.com is a real thing. People love dogs so much that they cannot stand the idea of seeing a dog die in a movie. Thus, this website is a wonderful guide for dog lovers. Myself? I’m thinking of starting a similar website called DoesPaulRuddDie.com. Because, when you think about it, what actor is nearly as beloved as man’s best friend? Paul Rudd, of course. Who would want to see a movie where Paul Rudd dies? Not many people, I’m sure. And, since Paul Rudd is now starring in a horror comedy called The Death of a Unicorn, the value of my idea takes on an air of necessity.
The Death of a Unicorn stars Paul Rudd as Elliott, a widower trying desperately to connect with his college aged daughter, Ridley (Jenna Ortega), and failing miserably. The biggest issue is that he’s invited her on a trip as a prop to show off to potential new legal clients, the uber-rich Leopold family, including patriarch Odell (Richard E. Grant), Belinda (Tea Leoni) and their dopey son Shep (Will Poulter). Elliott believes that the family won’t hire him unless he can show them that he is also a thriving family man. Ridley goes along with this because it’s what her late mother would have wanted her to do.
The plot of The Death of a Unicorn kicks in with the actual seeming death of a Unicorn. While driving through a forest preserve that surrounds the Leopold’s country mansion, Elliott hits a unicorn with their rental car. He didn’t do it on purpose, the unicorn came out of nowhere. It’s not quite dead but it does appear to be suffering. Before it dies, Ridley touches the unicorn’s horn and has a vision of the future, though it’s a little too vague to make it out. She’s also interrupted when Elliott begins bashing the unicorn’s skull in out of the notion that killing it is more humane than letting it suffer. Then, out of fear of getting in trouble, Elliott loads the unicorn into their car and takes it with them.
In the immediate aftermath, things are weird. Ridley was suffering from extreme acne and it’s suddenly gone. Elliott, who was suffering from allergies, is no longer allergic and he no longer needs his glasses. Apparently, the contact with the blood of the unicorn has healed them and when the Leopold’s, whose fortune is in pharmaceuticals, find out about the magical healing power of unicorn blood, they see dollar signs. Also, Odell happens to be dying from colon cancer and thus wants to cut the unicorn to pieces to see if it can save his life. Of course, it’s not going to be that easy. It seems that this is a baby unicorn and its parents want their child back by any means necessary.
The Death of a Unicorn is absurd, hilarious and scary. The cast is fantastic with Will Poulter proving to be the MVP. Poulter plays a craven, idiotic man-child who finds himself desperate to snort the unicorn horn on the assumption that it will magically improve his intelligence and that description barely scratches the surface of Poulter's brilliantly funny performance. Richard E. Grant and Tea Leoni meanwhile are a perfect send up of waspy, clueless, venal billionaires who’ve lost touch with reality years ago but still think they are normal and relatable. Paul Rudd is trapped between wanting to appeal to this family for the purpose of securing his family’s financial future and wanting to bond with Jenna Ortega’s Ripley who immediately takes the side of the unicorns and wants to give the baby back to her parents.
The comic lines are drawn quite well and that’s the springboard for some darkly comic antics. The violence of The Death of a Unicorn is grim and sudden but also surreal and hilarious. Writer-director Alex Scharfman, in a debut feature, demonstrates a deft hand in balancing the bizarre, gory death scenes with the surreal notion of murderous unicorns. The special effects rest squarely in an uncanny valley that actually works for the movie, rendering the Unicorns realistic and yet dreamily surreal, adding to their darkly comic effect. It’s all remarkably well staged inside the Leopold’s elaborate and earthy yet modern mansion filled with questionable geography.
I really enjoyed The Death of a Unicorn. It’s funny and creepy with solid scares, well earned laughs, and solid shocks. So, does Paul Rudd die in The Death of a Unicorn? I’m not going to spoil that here. You have to go to my new website DoesPaulRuddDie.com. It should be ready sometime in 2027. For now, you will just have to go see The Death of a Unicorn for yourself if you want to know if Paul Rudd lives or dies in the film. I can tell you that Paul Rudd is terrific in the movie, as he always is, and that’s plenty of reason for you to see The Death of a Unicorn for yourself.
Find my archive of more than 24 years and more than 2000 movie reviews at SeanattheMovies.blogspot.com. Find my modern review archive on my Vocal Profile, linked here. Follow me on Twitter at PodcastSean. Follow the archive blog on Twitter at SeanattheMovies. Also join me on BlueSky, linked here. Listen to me talk about movies on the I Hate Critics Movie Review Podcast. If you have enjoyed what you have read, consider subscribing to my writing on Vocal. If you’d like to support my writing, you can do so by making a monthly pledge or by leaving a one time tip. Thanks!
About the Creator
Sean Patrick
Hello, my name is Sean Patrick He/Him, and I am a film critic and podcast host for the I Hate Critics Movie Review Podcast I am a voting member of the Critics Choice Association, the group behind the annual Critics Choice Awards.
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Why The Ikkis Team “Had a Bit of a Debate” About Casting Dharmendra, Reveals Writer
Start writing...Casting a legend is never a simple decision. When the makers of The Ikkis began shaping their story, one name naturally surfaced early in discussions: Dharmendra. Revered across generations, the veteran actor has been a towering presence in Indian cinema for over six decades. Yet, as the film’s writer recently revealed, bringing Dharmendra on board was not an automatic choice. In fact, it sparked what he described as “a bit of a debate” within the creative team—a debate that ultimately speaks volumes about changing storytelling priorities in contemporary Indian cinema. At the heart of the discussion was not Dharmendra’s talent or legacy. Those, the writer stressed, were never in doubt. Instead, the debate centered on tone, authenticity, and audience perception. The Ikkis is not a nostalgia-driven project designed to celebrate cinematic icons for their own sake. It is a story rooted in character nuance, emotional realism, and a very specific worldview. The team was concerned that casting a superstar of Dharmendra’s stature might unintentionally overshadow the character he was meant to portray. “In today’s cinema, audiences are extremely aware,” the writer explained. “When a legend like Dharmendra walks on screen, viewers don’t just see the character—they see Dharmendra.” This star-text effect, while powerful, can be a double-edged sword. For a film that relies on immersion and subtlety, the risk was that the audience’s emotional response might be shaped more by reverence than by narrative logic. Another point of debate involved generational expectations. Dharmendra’s fan base spans decades, from those who grew up watching his action-packed roles in the 1970s to younger viewers who know him through selective appearances and public persona. The writers questioned whether these expectations would align with the restrained, layered role envisioned in The Ikkis. Would audiences accept Dharmendra in a quieter, more introspective part, or would they unconsciously wait for echoes of his larger-than-life past? There were also internal creative considerations. The team reportedly explored alternative casting options, including lesser-known actors who could “disappear” more easily into the role. This approach reflects a broader trend in modern Indian cinema, where realism often takes precedence over star power. Films and series today increasingly favor actors who serve the story rather than dominate it. However, as discussions evolved, so did the team’s perspective. What began as skepticism gradually turned into curiosity. The question shifted from “Will Dharmendra overpower the role?” to “What if he redefines it?” The writer admitted that the turning point came during deeper character analysis. The role demanded not just performance skill, but lived experience—someone who could convey emotional weight with minimal dialogue, using silence, posture, and presence. “That’s when we realized Dharmendra might actually be perfect,” the writer said. Age, often viewed as a limitation in casting, became an asset. His life experience, cinematic journey, and natural gravitas aligned organically with the character’s inner world. Rather than distracting from realism, his presence could enhance it—if handled carefully. Crucially, Dharmendra himself played a role in resolving the debate. According to the writer, the actor approached the project without ego or demands. He was open to discussions, receptive to the director’s vision, and willing to shed his superstar image in service of the story. This humility reassured the team that he would not impose himself on the narrative, but blend into it. The final decision to cast Dharmendra was not a compromise, but a creative leap of faith. It reflected confidence not only in the actor, but in the audience’s ability to evolve. The makers trusted that viewers today are ready to see legends in new lights—less as icons, more as human beings. The writer emphasized that this debate was healthy, not divisive. It represented a maturing industry where casting choices are scrutinized as carefully as scripts. “Ten years ago, this wouldn’t even have been a discussion,” he noted. “You’d cast a legend and move on. Now, every choice is about storytelling integrity.” As The Ikkis moves closer to release, the casting of Dharmendra stands as one of its most intriguing aspects. Whether audiences will see the legend first or the character first remains to be seen. But the very fact that the team questioned, debated, and ultimately chose with intention suggests a film deeply aware of its creative responsibility. In the end, the debate about Dharmendra was not about doubt—it was about respect. Respect for the story, for the audience, and for a legendary actor whose greatest strength may now lie in reinvention rather than nostalgia
By Fiaz Ahmed Brohi4 days ago in Geeks
Comments (3)
I've just watched this and to be honest - I'm not sure what I watched. It's not that I didn't enjoy it, but I kept questioning all the way through - who is this for? Am I the intended audience? Still don't know the answer.
I will check this one out!
This was a great review, Shean. I was kinda put off by some of the jump scares in the trailer but now I think I want to watch it. I wish you great success with the 2027 launch of DoesPaulRuddDie.com!