1 of 5 | From left, Jessica Hynes, Téa Leoni, Will Poulter, Paul Rudd, Jenna Ortega and Anthony Carrigan witness the “Death of a Unicorn,” in theaters Friday. Photo courtesy of A24
LOS ANGELES, March 25 (UPI) — Death of a Unicorn, in theaters Friday, has a clever premise for a macabre comedy. Unfortunately, that premise is outnumbered by obnoxious cliches that dull its bite.
Paul Rudd and Jenna Ortega star as Elliot and Ridley, a father and daughter attending a company retreat where Elliot hopes to land a major contract with the Leopold pharmaceutical family. In a rental car from the airport, Elliot hits an animal on the road.
When Elliot and Ridley stop and get out of the car, they realize the animal is a unicorn. Once their hosts discover the unicorn’s healing properties, they try to capitalize on it.
The rest of the movie ought to be grounded for the magical realism of a unicorn traffic accident to be humorous. Instead, the film makes every other character more outlandish than a unicorn, so none of it is believable, let alone funny.
The Leopolds are parodies of wealthy pharmaceutical executives. Odell (Richard E. Grant) is dying of cancer but desires immortality, not just extending his natural life. His wife, Belinda (Tea Leoni), blatantly postures about philanthropy but ultimately can’t remember whether she’s evacuating or vaccinating needy people.
Their son, Shepard (Will Poulter), is the tech bro who talks about his diversified portfolio of entrepreneurial endeavors that is meaningless. As the night wears on he also indulges in his addictions.
However, Elliot is also a caricature of a widower who can’t connect with his daughter. Ridley isn’t quite as extreme, but an idealistic college student interested in social justice is fairly stereotypical as well.
The whole movie feels like an improv exercise where each actor was given one adjective to describe their character. There are three opportunistic villains, one hapless sap, one common sense youth, two scientists (Stephen Park and Sunita Mani) and two of the Leopolds’ annoyed employees (Anthony Carrigan and Jessica Hynes).
Occasionally, one will deliver an inspired line, but the subsequent dialogue inevitably ruins it. If unicorns existed, seeing real human beings try to handle encountering a magical creature would be funny.
Even promising developments when additional unicorns descend on the Leopold house only lead to more insufferable banter. It becomes a siege on a house full of idiots. Human in-fighting is the point of horror movies like Night of the Living Dead, but that works because the opposing viewpoints are all believable.
Writer-director Alex Scharfman thought of every possible way the Leopolds could try to ingest unicorn. However, the dark comedy of desecrating mythic creatures is undercut by all the silly babbling.
One area in which Death of a Unicorn does succeed is in the visual effects. The unicorns look genuinely beastly, not whimsical, and there is no shot where the viewer cannot believe the unicorn is present.
Alas, it is not even satisfying when unicorns kill these deserving clowns. There is no death violent enough to justify the hours of riffing, and the deaths are pretty graphic.
For a movie with such a unique premise, Death of a Unicorn ultimately relies on familiar stereotypes and tropes. Combined with the miscalculated tone, these unicorns deliver neither joy nor terror.
Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.
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Is This Thing On?
Cinematic stories of disintegrating marriages are fairly commonplace—and often depressing emotional endurance tests, besides—so it’s interesting to see co-writer/director Bradley Cooper take this variation on the theme in a fresher direction. The unhappy couple in this place is Alex and Tess Novak (Will Arnett and Laura Dern), who decide matter-of-factly to separate. Then Alex impulsively decides to get up on stage at an open-mic comedy night, and starts turning their relationship issues into material. The premise would seem to suggest an uneven balance towards Alex’s perspective, but the script is just as interested in Tess—a former Olympic-level volleyball player who retired to focus on motherhood—searching for her own purpose. And the narrative takes a provocative twist when their individual sparks of renewed happiness lead them towards something resembling an affair with their own spouse. The screenplay faces a challenge common to movies about comedians in that Alex’s material, even once he’s supposed to be actively working on it, isn’t particularly good, and Cooper isn’t particularly restrained in his own supporting performance as the comic-relief buddy character (who is called “Balls,” if that provides any hints). Yet the two lead performances are terrific—particularly Dern, who nails complex facial expressions upon her first encounter with Alex’s act—as Cooper and company turn this narrative into an exploration of how it can seem that you’ve fallen out of love with your partner, when what you’ve really fallen out of love with is the rest of your life. Available Jan. 9 in theaters. (R)
JANUARY SPECIAL SCREENINGS
KRCL’s Music Meets Movies: Dig! XX @ Brewvies: As part of a farewell to Sundance, Brewvies/KRCL’s regular Music Meets Movies series presents the extended 20th anniversary edition of the 2004 Sundance documentary about the rivalry between the Dandy Warhols and Brian Jonestown Massacre as they chart different music-biz paths. The screening takes place at Brewvies (677 S. 200 West) on Jan. 8 @ 7:30 p.m., $10 at the door or 2-for-1 with KRCL shirt. brewvies.com
Trent Harris weekend @ SLFS: Utah’s own Trent Harris has charted a singular course as an independent filmmaker, and you can catch two of his most (in)famous works at Salt Lake Film Society. In 1991’s Rubin & Ed, two mismatched souls—one an eccentric, isolated young man (Crispin Glover), the other a middle-aged financial scammer—wind up on a comedic road trip through the Utah desert; 1995’s Plan 10 from Outer Space turns Mormon theology into a crazy science-fiction parody. Get a double dose of uncut Trent Harris weirdness on Friday, Jan. 9, with Rubin & Ed at 7 p.m. and Plan 10 from Outer Space at 9 p.m. Tickets are $13.75 for each screening. slfs.org
Rob Reiner retrospective @ Brewvies Sunday Brunch: Last month’s tragic passing of actor/director Rob Reiner reminded people of his extraordinary work, particularly his first handful of features. Brewvies’ regular “Sunday Brunch” series showcases three of these films this month with This Is Spinal Tap (Jan. 11), The Princess Bride (Jan. 18) and Stand By Me (Jan. 25). All screenings are free with no reservations, on a first-come first-served basis, at noon each day. brewvies.com
David Lynch retrospective @ SLFS: It’s been a year since the passing of groundbreaking artist David Lynch, and Salt Lake Film Society’s Broadway Centre Cinemas marks the occasion with some of his greatest filmed work. In addition to theatrical features Eraserhead (Jan. 11), Inland Empire (Jan. 11), Mulholland Dr. (Jan. 12), Twin Peaks: Fire Walk With Me (Jan. 14), Blue Velvet (Jan. 19) and Lost Highway (Jan. 19), you can experience the entirety of 2017’s Twin Peaks: The Return on the big screen in two-episode blocs Jan. 16 – 18. The programming also includes the 2016 documentary David Lynch: The Art Life. slfs.org
Death by Numbers @ Utah Film Center: Directed by Kim A. Snyder (the 2025 Sundance feature documentary The Librarians), this 2024 Oscar-nominated documentary short focuses on Sam Fuentes, survivor of a school shooting who attempts to process her experience through poetry. This special screening features a live Q&A with Terri Gilfillan and Nancy Farrar-Halden of Gun Violence Prevention Center of Utah, with Zoom participation by Sam Fuentes. The screening on Wednesday, Jan. 14 at 7 p.m. at Utah Film Center (375 W. 400 North) is free with registration at the website.
The Home (now streaming on Starz) pits Pete Davidson against the residents of a creepy retirement community, and it isn’t exactly a Millennials-vs.-Boomers clash for the ages. “Best generation, my f—in’ dick,” our headliner mutters under his breath at one point, and that’s an accurate representation of this quasi-horror movie’s level of articulation. Filmmaker James DeMonaco (director of the first three The Purge movies, writer of all of them) takes a halfway decent idea and turns it into an uninspired, vaguely brownish-colored movie version of the stew you make out of all the leftovers in the fridge, and that you can’t revive with just a little more salt.
The Gist: Hurricane Greta is about to slam into this community, and this movie would love you to come to the conclusion that it’s the result of the collective might of boomers’ farts after they ate too many Wagyu tenderloins basted in the metaphorical gravies wrung from the pores of younger generations. Maybe that’s why Max (Davidson) is so skinny, but it’s definitely why he’s so P.O.’d. He breaks into a building and expresses his angst via some elaborate graffiti art that gets him arrested – again. His foster father finagles a deal for him to avoid jail time by performing community service at the Green Meadows Retirement Home and that doesn’t seem too bad since he’ll be a janitor and not a nurse on diaper duty. And at this point it’s established that Max has some trauma stemming from his foster brother’s suicide, the type of trauma that’s requisite to pile atop any and all protagonists of crappo horror movies at this point in the 21st century.
It’s worth noting that Green Meadows is a halfway-decent retirement community – not as posh as the one in The Thursday Murder Club, and not as repugnant as you might expect for a low-rung horror flick. BUT. There’s always a BUT. He arrives at the home and looks up and sees peering out a window the face of a gaunt old man with eyes that ain’t quite right. I’m sure it’s nothing! Management gives him the nickel tour, and gives him the first rule of The Friday the 13th Murder Club: DON’T GO ON THE FOURTH FLOOR. And yes, that’s also the second rule of The Friday the 13th Murder Club. Max will stay in a room at the home so he can be available 24/7 in case the job requires a 2 a.m. mop-up, and also so he can have lucid dreams that may or may not actually be dreams about weird shit happening around these here parts.
But everything goes fine and Max quietly manages his trauma and nothing incredibly gross and/or violent happens and he lives happily ever after the end. No! Actually, he catches a glimpse of old people in bizarre masks having miserable sex, and hears horrible screams of agony coming from, yes, the fourth floor. Max seems to be getting along OK, and even makes a couple of friends, like Lou (John Glover), who summons Max to clean up a big mess of feces when it’s actually a little welcome party for the new super. Ha! Max also has conversations about Real Stuff with Norma (Mary Beth Peil), both sharing the pain of the people they’ve lost. Eventually the fourth floor misery noises get to be too much and Max picks the lock and investigates, and it’s full of wheelchair-bound elderlies in states of drooling, semi-comatose madness. After Max gets his hand slapped for violating the first/second rule, that’s when the bullshit ramps up. Let’s just say this bullshit has some Satanic vibes, and poor Norma doesn’t deserve what happens to her, although Max seems ready to do something about all this.
What Movies Will It Remind You Of? The Home is sub-Blumhouse drivel nominally referencing things like Rosemary’s Baby, Eyes Wide Shut, and One Flew Over the Cuckoo’s Nest in order to make it seem smarter than it is. Other recent scary movies set in nursing homes: The Manor, The Rule of Jenny Pen.
Performance Worth Watching: A moment of praise for the makeup and practical effects people, who provide The Home with more memorable elements than any of the cast performances.
Sex And Skin: A bit. Nothing extensive. But definitely unpleasant.
Our Take: In The Home, DeMarco tries a little bit of everything: flashbacks, dream-sequence fakeouts, jump scares, body horror, surveillance-tech POVs, occult gobbledygook, creepy sex, conspiracies, climate change dread, generational divide, paranoia, deepfake-ish dark-web weirdness… it goes on, and none of it is particularly compelling or original. It’s most effective in its grisly imagery, with a couple of memorable deaths that might tickle the cockles of horror connoisseurs, and DeMarco’s generous deployment of pus and eyeball gloop shows a variation on the usual bodily fluids that’s, well, I don’t know if “satisfying” is the right word, but at least we’re not drenched in the same ol’ blood and barf. Small victories, I guess.
Most will take issue with the casting of Davidson, who in the majority of his roles to date has yet to show the intensity that anchoring a thriller like The Home demands. He puts in some diligent effort in the role of the guy who routinely goes what the eff is going on around here?, and his work is a cut above merely cashing a paycheck, which isn’t to say he’s necessarily good. Miscast, maybe. The victim of half-assed writing, more likely, this being a paranoid creepout that never gets under our skin, with attempts at cheeky comedy that fizzle out and social commentary that dead-ends into obviousness. Having Davidson piss and moan about “F—ing boomers” ain’t enough.
The plot works its way through its hodgepodge of this ‘n’ that plot mechanisms to get to a conclusion that’ underwhelming and over the top at the same time; the initial bit of exhilaration quickly dissipates and we’re left with the sense that the movie just hasn’t been good or diligent enough in its storytelling and character development to earn this catharsis. It’s just spectacle for its own gory sake. This mediocrity might just inspire Davidson to retire from horror movies.
Our Call: Hate to say it, but 1.7 decent kills does not a horror movie make. SKIP IT.
John Serba is a freelance film critic from Grand Rapids, Michigan. Werner Herzog hugged him once.
I’d call the title “Relentless” truth in advertising, althought “Pitiless,” “Endless” and “Senseless” work just as well.
This new thriller from the sarcastically surnamed writer-director Tom Botchii (real name Tom Botchii Skowronski of “Artik” fame) begins in uninteresting mystery, strains to become a revenge thriller “about something” and never gets out of its own way.
So bloody that everything else — logic, reason, rationale and “Who do we root for?” quandary is throughly botched — its 93 minutes pass by like bleeding out from screwdriver puncture wounds — excruciatingly.
But hey, they shot it in Lewiston, Idaho, so good on them for not filming overfilmed Greater LA, even if the locations are as generically North American as one could imagine.
Career bit player and Lewiston native Jeffrey Decker stars as a homeless man we meet in his car, bearded, shivering and listening over and over again to a voice mail from his significant other.
He has no enthusiasm for the sign-spinning work he does to feed himself and gas up his ’80s Chevy. But if woman, man or child among us ever relishes anything as much as this character loves his cigarettes — long, theatrical, stair-at-the-stars drags of ecstacy — we can count ourselves blessed.
There’s this Asian techie (Shuhei Kinoshita) pounding away at his laptop, doing something we assume is sketchy just by the “ACCESS DENIED” screens he keeps bumping into and the frantic calls he takes suggesting urgency of some sort or other.
That man-bunned stranger, seen in smoky silhoutte through the opaque window on his door, ringing the bell of his designer McMansion makes him wary. And not just because the guy’s smoking and seems to be making up his “How we can help cut your energy bill” pitch on the fly.
Next thing our techie knows, shotgun blasts are knocking out the lock (Not the, uh GLASS) and a crazed, dirty beardo homeless guy has stormed in, firing away at him as he flees and cries “STOP! Why are you doing this?”
Jun, as the credits name him, fights for his PC and his life. He wins one and loses the other. But tracking his laptop and homeless thug “Teddy” with his phone turns out to be a mistake.
He’s caught, beaten and bloodied some more. And that’s how Jun learns the beef this crazed, wronged man has with him — identity theft, financial fraud, etc.
Threats and torture over access to that laptop ensue, along with one man listing the wrongs he’s been done as he puts his hostage through all this.
Wait’ll you get a load of what the writer-director thinks is the card our hostage would play.
The dialogue isn’t much, and the logic — fleeing a fight you’ve just won with a killer rather than finishing him off or calling the cops, etc. — doesn’t stand up to any scrutiny.
The set-piece fights, which involve Kinoshita screaming and charging his tormentor and the tormentor played by Decker stalking him with wounded, bloody-minded resolve are visceral enough to come off. Decker and Kinoshita are better than the screenplay.
A throw-down at a gas-station climaxes with a brutal brawl on the hood of a bystander’s car going through an automatic car wash. Amusingly, the car-wash owners feel the need to do an Idaho do-si-do video (“Roggers (sic) Car Wash”) that plays in front of the car being washed and behind all the mayhem the antagonists and the bystander/car owner go through. Not bad.
The rest? Not good.
Perhaps the good folks at Rogers Motors and Car Wash read the script and opted to get their name misspelled. Smart move.
Rating: R, graphic violence, smoking, profanity
Cast: Jeffrey Decker, Shuhei Kinoshita
Credits:Scripted and directed by Tom Botchii.. A Saban Entertainment release.
Running time: 1:34
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