Death of a Unicorn review – Jenna Ortega shines in B-movie-style satire on big pharma

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Murderous unicorns run amok in Alex Scharfman’s gory American horror that gleefully embraces a lo-fi aesthetic but lacks sufficient bite What if unicorns were badass? What if, rather than the twee, sparkly fairy creatures that distribute magic and glittery microplastic at kids’ themed birthday parties, unicorns were fearsome beasts with deranged amber eyes, huge tombstone teeth that could sever a man’s arm, and horns covered in the entrails of their victims like flesh pennants? It’s an appetising central premise. And this Paul Rudd and Jenna Ortega-starring horror comedy, produced by the achingly hip boutique studio A24, certainly delivers on the grisly, torso-skewering gore. Maybe the jokes could have been sharper, but at least the unicorns’ horns make their point. Killer unicorns are not an entirely novel concept. The ultraviolent 2022 cult feature animation Unicorn Wars – described by its director as “ Bambi meets Apocalypse Now meets the Bible” – pitted unicorns against teddy ...
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The Deliverance review – Lee Daniels exorcism horror brings strong cast to real-life story

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Daniels’s film starts well as it points up the social pressures that informed the Latoya Ammons case, but succumbs to tired horror tropes

Ten years ago, Lee Daniels announced he was taking on a movie project based on the real-life case of Latoya Ammons, a single mother who claimed that her house was haunted, that her children were being possessed by evil spirits and that she needed a “deliverance” – in other words, an exorcism. Well, the resulting very silly and mediocre movie has now finally arrived, with Ammons in real life having long since moved out of the house in question; it has itself been bulldozed, and some of the more excitable and credulous media coverage which helped clinch the film deal has cooled in retrospect, leaving behind, perhaps, a greater emphasis on those heartless observers who were callous enough to wonder if Ammons’ paranormal claims were a drama-queen ruse for avoiding the rent and bamboozling social services.

Daniels could have made a brilliant, heartfelt film about the Ammons case, which absorbed precisely that possibility; the possibility that it wasn’t real, but real in another sense, a film that proposed “possession” as a metaphor for the racism, sexism, poverty and class prejudice that creates dysfunction and delusion in a family in this situation. And for a while, it looks as if Daniels is doing that, with robust and potent performances from Andra Day as the mother, Mo’Nique (so powerful in Daniels’s film Precious) as her social worker, and Glenn Close as Alberta, the cranky born-again Christian grandma, with Close giving this black-comic role both barrels, just as she did playing JD Vance’s crotchety Mamaw in Hillbilly Elegy.

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