‘Death of a Unicorn’ Review: A Lifeless Horror Comedy

Horror is the one style the place dumb characters might be an asset somewhat than a problem. If a film asks viewers to thrill within the spectacle of its protagonists’ bloody deaths, it helps to don’t have any sympathy for them in anyway. And it’s very laborious to root for a personality who retains making silly choices that carry them nearer and nearer to stated their demise.

Dumb characters in satire are a bit of trickier. You want good writing of and round these dumb characters to actually make them work, and that’s one thing Dying of a Unicorn by no means fairly achieves. Its solid of characters is so persistently loathsome, and sometimes so shockingly dim-witted, that it’s laborious not to root for his or her demises by the hands (nicely, the horns anyway) of the title animals.

Unicorns, it seems, should not cute and cuddly just like the rainbow-maned stuffed animals we give to our youngsters. They’re the wild, ferocious beasts of historical legends — and when somebody runs over their child and drives off with its lifeless physique, they won’t cease till they get it again, like Michael Myers with a jagged glowing horn as an alternative of a kitchen knife.

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This fictional universe’s unicorns could also be monsters within the literal sense, however most of its human characters are much more monstrous. The one notable exception is Ridley (Jenna Ortega), a mopey teenager reluctantly tagging alongside along with her father Elliot (Paul Rudd) on an essential journey to satisfy together with his bosses, the Leopold household. Patriarch Odell (Richard E. Grant) suffers from an incurable type of most cancers and needs to guarantee continuity in his household enterprise. For causes the film by no means actually clarifies, Odell has chosen the bumbling, nervous Elliot to supervise the company board that can guarantee the lavish life of his glamorous spouse Belinda (Tea Leoni) and dopey son (Will Poulter) after he passes away. The Leopolds declare to worth household above all else, which is why Elliot drags Ridley as much as their property on an enormous nature protect in Northern Canada for the signing of the ultimate paperwork.

Issues go awry nearly instantly when a distracted Elliot plows into the aforementioned child unicorn on the drive from the airport. Strive as he may to cover the proof of the incident, the Leopolds quickly uncover what he’s finished — and once they notice that the unicorn’s blood might comprise supernatural therapeutic properties, they waste no time poking and shaving and carving up the poor beast up for private exploitation and revenue.

Ridley, who shares a mysterious connection to the creature, Googles one thing like “are unicorns harmful” after which tries to warn her father that they need to skedaddle earlier than the implications of their actions present up. Elliot is so hesitant to do something that might jeopardize his job, and so determined for a style of his boss’ cash, that he ignores all the numerous warning indicators that Ridley is appropriate till it’s too late to do something about it.

Clearly there isn’t a hope of Ridley convincing the grasping, amoral Leopolds. And that’s a part of the issue; all the things about Dying of a Unicorn is clear. The narrative proceeds nearly precisely how we anticipate it to play out from its opening scene to its final. Not a single beat within the script by first-time director Alex Sharfman is stunning. And the characters’ conduct (and their halfwitted choices) are as predictable because the storyline.

If Dying of a Unicorn simply needed to be a continuous gorefest, perhaps the acute obviousness of the premise and the dearth of suspense in its execution wouldn’t matter. However the movie solely ramps up the motion in its remaining third, and even then it retains a honest quantity of the unicorn-on-man violence off-camera. The primary hour of the movie is all feeble critique of dead-end capitalism and its cruelest and most profitable adherents. The Leopolds make ripe targets, however the satire’s chunk is about as sharp as a child unicorn’s enamel.

The solid does what it could actually with the fabric, however there’s solely a lot nuance an actor can add to a screenplay pushed by such simplistic characters. Will Poulter fares the perfect of the group just by enjoying his spoiled failson as such an oblivious and obsequious idiot. It’s additionally good to see Rudd take a break from fast-talking charmers, and I admired how keen he was to make Elliot appear to be a weak, sniveling toady.

However Grant and Leoni get only a few alternatives to indicate simply how humorous they may very well be in a film concerning the worst individuals on the earth combating a pack of crazed unicorns, and Ortega is already in peril of getting typecast because the twenty first century’s final sullen teenager. Now 22, she must do one thing that reveals her vary earlier than she ages out of the one form of function Hollywood appears to assume she is able to enjoying.

There are worse methods to spend 100 minutes in a movie show proper now than Dying of a Unicorn. There are additionally loads of higher ones. The slasher-style kills are efficient, and a few the tossed-off quips are good for some chuckles. (I appreciated when Leoni knowledgeable her friends that her butler was “making my well-known moussaka” for dinner.) However a number of the movie lives as much as its title. It’s simply lifeless.

Further Ideas:

– Jenna Ortega’s character is known as Ridley, and given Dying of a Unicorn’s story construction and style, that looks like a nod to the Alien franchise. And perhaps it’s; however Elliot additionally calls her “Rid,” and he or she spends the movie wandering via the woods across the Leopold property in a purple hoodie she drapes over her shoulders. It’s simply too unhealthy the remainder of the movie wasn’t fairly as intelligent because the suggestion of its “Rid Driving Hood.”

RATING: 5/10

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