“The Cycle” follows Meg, who must unravel the disturbing secret her estranged father thought he took to the grave after a horrific crime scene leads police to her.
Based on that synopsis, you might expect “The Cycle” to be an ordinary crime-thriller. Co-writer and director Jordan Downey elevates this typical premise with atypical central characters. Meg isn’t just a daughter analyzing her dad’s past; she’s an expert. Her job as a forensic examiner requires her to look at decomposing bodies and piece together the circumstances of their death. On top of this, the case is led by a father-son police duo in Sheriff Marks and Ian. This results in family ties on both sides of the investigation. But that’s not all.
Many movies wait until the end to reveal their “big twist.” Downey puts it right in the middle of “The Cycle” to give genre fans two entirely different experiences within a single film. At first, the shift is jarring. A character hints at the seemingly random possibility in one scene, and it’s immediately brought to fruition in the next. Despite the first half of the 112-minute runtime being a gradual buildup, the reveal doesn’t match expectations. It’s purposefully shocking — sure to have many viewers clapping while others wonder “what could’ve been” had it remained more “Zodiac” than “The Thing.”
“I’m telling you, this sh-t is witchcraft.”
Downey and Stewart’s screenplay makes the experience cohesive despite containing so many different tones. “The Cycle” goes back and forth from horrific to campy; both aspects fit inside the world. Nonetheless, there are instances where it falls flat by trying to merge the two moods together.
Nick Soole’s score is integral to the film’s established tension. Instead of being consistently loud or consistently quiet, Soole lets the music simmer. Transitioning between hushed melodies and booming sounds, the intensifying compositions complement the visuals. Director of photography Kevin Stewart brings a slow-moving style to “The Cycle.” Lingering trucking shots, pans and zoom-ins are constantly used to generate anxiety rather than keeping scenes static. Even when more sporadic handheld camerawork is implemented, it serves a specific purpose, ensuring that it doesn’t detract from the overall aesthetic.
The same dichotomy is heard in the sound design. Sequences don’t simply remain quiet, featuring the ambiance of TV static, whirring fan blades and more. The audio also comes from several directions, putting viewers through a “cycle” of noises at all times.
Right from the start, Downey isn’t afraid to deliver unpleasant imagery. In the early stages, most of this is in the aftermath of events: skeletons, rotting bodies, facial disfigurement and bloody murder scenes. Once it moves past the midway point, however, there is a transformation — literally. Let’s just say that it does what “Wolf Man” couldn’t. After this change, there is a barrage of murderous mayhem, including torn-off limbs and blood-squirting bite wounds. While visual effects are used, the majority of this is done practically.
Deborah Ann Woll (Meg) is analytical yet enthusiastic. It’s almost off-putting how joyfully she speaks about dead bodies, but it showcases her character’s true passion for her job. As the narrative progresses, her delivery becomes more “mean.” Taking on a classic final girl role, she adds a sense of physicality to her performance that wasn’t initially present. Jeffrey Donovan (Marks) keeps words to a minimum, allowing blank stares and reactions to convey his character’s emotions. Also appearing are Will Hochman (Ian), David Myers Gregory (Peter) and Trevor Newlin.
“The Cycle” evokes a cycle of feelings as it transforms from level-headed thriller to outlandish horror. The film encourages viewers to draw assumptions, only to throw them out the window for pure madness.
Rating: 4.5 out of 5
