'The Cycle' review: Horror crime drama awakens a creature of the night
When he says that you guys should get a quick bite, you should run for your life. Bite marks play a crucial part in The Cycle, a new horror crime drama directed, co-written and edited by Jordan Downey. Deborah Ann Woll plays another crucial part as she stars in the film as Meg who works as a forensic anthropologist at a "body farm" in Oregon, sometimes helping the authorities with criminal investigations and sometimes educating them on the examination of human remains. After the cops come across some abnormal killings, police officer Ian Marks (Will Hochman) and his dad (Jeffrey Donovan), a lieutenant, approach Meg for help with the case, particularly because her long-missing dad Peter Stump (David Myers Gregory) is one of the bodies left behind. This investigation unearths dark secrets, family trauma and supernatural turmoil.
How often do you find yourself watching a genre mashup that oscillates between a crime procedural and a creature feature? Not often is the likely answer. That is, however, the movie's main attraction. If even one of those aspects was undercooked, you'd find a lot of frustration, disappointment and dead air in your overall experience with the story. What you discover right away is that Downey, co-writer and cinematographer Kevin Stewart, and co. haven't neglected the procedural element and they're not too eager to get to the showy, feral horror mayhem that the audience is clamouring for. There's a handsome visual style, some really interesting setting development—the body farm is actually underutilised—and a comfortable, familiar pace luring you into this world. Aside from some neat FX makeup, the first hour holds nothing surprising, but it doesn't have to because it's so well-done and assured as far as the imagery and mood go.
But once the second hour kicks in, the heat gets turned up. The film's shift towards a creature feature is a really impressive one, much thanks to practical FX makeup and SFX—there's a reason why the first credits at the end are reserved for Patrick Magee's contribution for [redacted] and makeup effects, and for actor Trevor Newlin's special appearance. When you see the designs in their full glory, let's say, you see that The Cycle is very much punching above its weight. Add a wonderful control over tension and ambience assisted by VHS tapes, morgues and fog, and you have a tremendously effective final chapter waiting for you. With that said, you admittedly do realise that you're not quite as invested in Meg or other characters' arcs as you should because the characterisation is so generic and frictionless. As a result, the autopsy of father-child relationships, identity, transformation and generational trauma is pretty messy if not impenetrable.
All things considered, the movie is worth enduring the slow-ish burn. Once it reveals its true colours, you'll be howling with enthusiasm. Now if only the title was more memorable (I've had to check it every time I've needed to write it down). I may have forgotten it again, but whatever it is, you should seek it out.
Smileys: Makeup, atmosphere
Frowneys: Characterisation
No body shaming, please. Keep it polite and professional.
3.5/5
Where to watch:
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