Death of a Unicorn Starring: Paul Rudd, Jenna Ortega

Paul Rudd, Jenna Ortega ‘Death of a Unicorn’ , Steve Coogan receives ‘The Penguin Lessons’ Danielle Deadwyler defends her family from Blumhouse ‘The Woman in the Yard’ — Theatrical Releases for March 28

Paul Rudd, Jenna Ortega ‘Death of a Unicorn’ , Steve Coogan receives ‘The Penguin Lessons’ Danielle Deadwyler defends her family from Blumhouse ‘The Woman in the Yard’ — Theatrical Releases for March 28

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Death of a Unicorn
Starring: Paul Rudd, Jenna Ortega

Death of a Unicorn

Starring: Paul Rudd, Jenna Ortega  Directed by Alex Scharfman

A father (Paul Rudd) and daughter (Jenna Ortega) accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss (Richard E. Grant) seeks to exploit the creature’s miraculous curative properties.

Critic reviews:

Charm magnets Jenna Ortega and Paul Rudd do their best to lift this horror comedy out of the quicksand of cliches that surround it but it’s a losing proposition.

– Peter Travers, ABC News

https://abcnews.go.com/GMA/Culture/review-jenna-ortega-death-unicorn-beating-heart-amid/story?id=120237255

Ortega, who’s better than she needs to be here, gives the story just enough heart to invest it with a soupçon of feeling while the rest of the cast goes progressively and exuberantly nuts.

– Manohla Dargis, New York Times

https://www.nytimes.com/2025/03/27/movies/death-of-a-unicorn-review.html

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Paul Rudd, Jenna Ortega ‘Death of a Unicorn’ , Steve Coogan receives ‘The Penguin Lessons’ Danielle Deadwyler defends her family from Blumhouse ‘The Woman in the Yard’ — Theatrical Releases for March 28

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The Penguin Lessons
Starring: Steve Coogan

The Penguin Lessons

Starring: Steve Coogan, Jonathan Pryce  Directed by:Peter Cattaneo

Inspired by the true story of a disillusioned Englishman who went to work in a school in Argentina in 1976. Expecting an easy ride, Tom discovers a divided nation and a class of unteachable students. However, after he rescues a penguin from an oil-slicked beach, his life is turned upside-down.

Critic Reviews:

Fresh score.

If you’re not crying at the end, when ‘The Penguin Lessons’ wants you to cry, then you’re the one who really needs a penguin.

– William Bibbiani, TheWrap

“The Penguin Lessons” wants to be a thoughtful light entertainment about ideals and courage, but ends up seeming grotesquely misguided.

– Matt Zoller Seitz, RogerEbert.com

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Paul Rudd, Jenna Ortega ‘Death of a Unicorn’ , Steve Coogan receives ‘The Penguin Lessons’ Danielle Deadwyler defends her family from Blumhouse ‘The Woman in the Yard’ — Theatrical Releases for March 28

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The Woman in the Yard

Starring:  Danielle Deadwyler

The Woman in the Yard

Starring:  Danielle Deadwyler Directed by Jaume Collet-Serra

Danielle Deadwyler (Till, The Harder They Fall, The Piano Lesson) stars as Ramona, a woman crippled by grief after she survives a car accident that takes her husband (Russell Hornsby; BMF, Fences). Seriously injured, Ramona now must care for their 14-year-old son (Peyton Jackson; Respect, American Refugee) and 6-year-old-daughter (Estella Kahiha; Will Trent, BMF), alone in her rural farmhouse. Then one day the woman takes form in their yard. Ramona assumes the woman (Okwui Okpokwasili; The Exorcist: Believer, Julie Taymor’s A Midsummer Night’s Dream) is lost or demented, but as the woman creeps nearer and nearer to the house, it becomes clear she is no ordinary figure and her intentions are anything but peaceful. Now Ramona must rally to protect herself and her children from the grasp of the woman who simply won’t leave them alone.

Critic reviews:

The Woman in the Yard succeeds (somewhat) due to Deadwyler’s sympathetic performance and Collet-Serra’s knack for sharp camera placement, evocative lighting and the occasional show-off camera move.

– Jordan Hoffman, Fangoria

The Woman in the Yard belies its disingenuously bland title with its considerable thematic ambitions. The film doesn’t fully live up to them, but it deserves credit for trying something different in an oversaturated, frequently exploitative genre.

– Frank Scheck, The Hollywood Reporter

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