Review of “death of a unicorn”: comic horror less than mythical

Impregnation with the mythical wrestling horse's favorite horns of everyone with a thirst for blood is a concept so ready for rock that he keeps your hopes of Grindhouse for the horror comedy “Death of a Unicorn”, even if your wandering attention betrays the reality of a cult film by Wannabe who mainly gallops in place.

The writer -director Alex Scharfman, doing his best to channel the playful spirit of “Gremlins” -era Joe Dante (if he had been able to rework the Tom Cruise Fantasy “Legend”), certainly has the energy of a playful child who waits for adults to sleep before freeing a dark adventure on someone's collection of dolls. Part of this darkness is admirably adult, with themes of sorrow, ecological destruction and capitalist greed to go with his bloody fantastic kick. What should be a bad hoe, however, is closer to a Ho-Hum.

The first nightmare of this scenario is a hidden earth setting: the university age in principle Ridley (Jenna Ortega) is in revolt to be encorded in the business trip of her lawyer, Elliot (Paul Rudd). They went to the wild complex of his employer, a raptor pharmaceutical family and similar to sackler called Léopolds, led by a dying patriarch (Richard E. Grant). Middle room on a mountain road, their rental car strikes and fatally hurts a peel of unicorn.

For any reason, they surround it in the trunk. And as if by magic, the proximity of the pair with this curiously self-specific creature leads to the disappearance of Ridley acne and the improvement of Elliot's view. But the Léopold clan sees a new empire of riches perfectly by collecting its curative power, including the purple and iridescent blood of the unicorn and the mysterious properties of its sometimes brilliant horn.

Ridley is naturally disgusted by cruelty to animals, which puts a handful of leopolds scientists to work in a laboratory. But she is also disappointed that her father – a well -intentioned widower who still had trouble connecting with her daughter – wants in the financial gain by tilting for the status of the partner. However, when she makes online detective, she learns that if these magical animals are real, then probably the ancient representations of these old ones are fully capable of retaliating savagely when threatened. Oops.

Usually, when modern modern horror films today are starting to explain you, it's time to roll your eyes and check. But the notion of Scharfman is indeed inventive, and while waiting for the inevitable seat can become a little draggy, it sometimes creates nervous pleasure.

Especially because these targets rich in managers are the choice: alongside Léopold Monomaniacal Odell de Grant, there is a philanthropic wife self-sistering like her philanthropic refugees who stand the reputation) and a hilarious Will Filter, like their ambition, the Bro-Enton-Son, the Funnis film (a second second of laughs Alum “Barry” Anthony Carrigan like the harassed servant of the family.)

The disappointment stems from the way chaos is clumsy and inspired. But also how the tradition invented Scharfman and the drama of father finally by heart (conscientiously played by Rudd and Ortega) finally discomfort our appetite for the real Catharsis-Catharsis.

This certainly does not help that the visual effects are an extremely variable quality sloppy bargain. Every Mandre Maven hopes a mixture of charming Gonzo price to the Early Peter Jackson Or the fear of sophisticated “Jurassic Park” will unfortunately be destroyed. In “Death of a Unicorn”, the thrills of the last acts simply cannot correspond to the billionaire satire of the start of the race which happily prescribes a more dignified co -pump.