Late into the runtime, The Cycle takes a turn. What starts as a moody and somber police investigation shifts into creature horror complete with some memorable practical work. The marketing has done a disservice by giving that turn away. Committed genre fans will likely guess the twist early, but regardless, the slow build and methodical investigation are core to what makes this movie work before the horror elements are revealed.

Deborah Ann Woll carries the entire first half, playing a seasoned forensic investigator whose latest case collides with her unresolved past. The supporting cast earn some honorable mentions, but she’s really the vehicle for the film’s journey and themes. That delivery is one of the weaker links, heavy-handed and executed awkwardly through some clumsy character discussion and exposition that instructs the viewer in how they should feel. Woll manages to rise above it. She is immensely watchable, and this is easily her career best.

There is a decent amount of gore, and the movie is not shy with the grotesqueness of the forensic investigation. The director is known for more comedic fare, so it is a genuine surprise he plays it entirely straight, even where parts of the script could easily fall into parody and camp.

There is real craft and much to recommend here: a brooding score, the performance, and an old-school commitment to a genre staple. But for every element that lands, there is a counterpart that drags. The Cycle is a slow burn that borders on guttering, leaning on atmosphere to carry the weight and paper over gaps in the script. Decently framed direction and cinematography give way to shaky-cam and jitters in the last act, which, while it hides some practical seams, detracts from the overall quality. The payoff delivers and is certainly worth the wait, but the wait could be shortened easily by a good 20 minutes.

This is a decent movie trapped inside a long one, but still shines.