Review: ‘The Cycle’ is a visceral showcase of practical horror

A forensic anthropologist (Deborah Ann Woll, Daredevil) is asked to consult on a case that’s left small-town police stumped. A mother and daughter have been ripped apart by an unknown animal. What’s even stranger, there’s a third body that’s intact but very strange-looking, belonging to the forensic investigator’s father, who ran away from his family decades ago. 

The movies released directly on the horror streaming service Shudder are very hit or miss, but I took a chance on the recent release The Cycle, despite its bland name, while looking for something new this Halloween. I made the right gamble, discovering a practical effects-driven creature feature that recalls the glory days of movies like An American Werewolf in London in a modern context, without trying to coast on ‘80s nostalgia for the days of The Thing. 

Those practical effects shine in the first half of the movie, showcasing a number of grisly corpses in all manner of decay that wouldn’t have been out of place in David Fincher’s Seven. Woll’s character, Meg, works at a body farm where medically donated bodies are left to rot in a myriad of goopy ways so that forensic experts like her can help law enforcement. Even she’s not totally sure what to make of her father’s body, which, from all medical deduction, looks to have been a suicide a month ago after a period of prolonged torture. He’s not showing any traditional signs of decay, suggesting his body was in some kind of sealed environment before being placed at the scene of the attack for mysterious reasons. 

The situation gets stranger as The Cycle goes on, which makes me appreciate the decision to center the film on an expert in her field. Similar to Special Agent Dana Scully in The X-Files, Meg approaches each new development by gathering information and making competent decisions. I’ve enjoyed my share of dumb teenagers getting murdered in horror movies, but it feels so refreshing when a horror film can deliver the same visceral thrills without having to feel cheap. 

At the same time, The Cycle fortunately avoids the “elevated” trauma horror that we’ve seen A24 pump out time and time again since the release of Hereditary. It’s clear Meg still experiences stress and anxiety from seeing her father walk out on her and her mother as a child. Instead of wallowing in that trauma, The Cycle explores genuinely interesting themes about how parents are forced to make impossible choices when life throws them curveballs and, for children, how we grow up to try to understand those choices. For a movie filled with mangled, grotesque bodies, it has a surprising amount of heart. 

I won’t spoil the midpoint twist of what’s actually going on, but the back half of the movie is a non-stop rollercoaster of carefully crafted practical horror effects that feel real and visceral while still completing Meg’s emotional journey to understanding her father’s abandonment and staying true to the film’s initial detective thriller roots. Director Jordan Downey (The Head Hunter) balances every element, taking familiar inspirations and making them feel fresh. 

Aside from a premiere at Fantastic Fest, it’s a shame The Cycle didn’t at least make the midnight-movie rounds of indie theaters; so many moments would have killed with a big crowd. Even so, this is a fun, well-crafted thriller that blends multiple genres into something handmade and special. Throw it on the next time you’re looking for a nocturnal scare, and you won’t be disappointed.