‘The Bikeriders’- Film Review | Exploring the Motorcycle Culture of America in a Gripping Drama

Something popped into my head just a week before seeing writer/director Jeff Nichols’ latest, The Bikeriders: Has there been a good movie about motorcycles in the 21st century? Since then, they all but dropped off the map when duds like Wild Hogs, Biker Boyz, and the biggest dumpster fire of them all, Torque, weren’t taken seriously. That’s what I hoped for here since it premiered at last year’s Telluride Film Festival, and that’s saying a lot when it’s all based on a photograph book from 1968. Based on a great cast and a filmmaker who knows how small-scale dramas deliver (Mud, Take Shelter), The Bikeriders won’t be the life-changing film that makes me want to own a Harley-Davidson, but I walked out pleased with a look at a culture probably gone by now.

What’s the Story: Through a series of interviews conducted by photojournalist Danny Lyon (Mike Faist), Kathy (Jodie Comer) reveals the transformation of rogue bike rider Benny Bauer (Austin Butler). Benny is a Midwestern motorcycle club member based in Chicago, the Vandals, led by their President, Johnny Davis (Tom Hardy). As the years pass, the Vandals grow in numbers and chapters, but so do the violence and behavior problems. This forms a triangle of conflict that tests Benny’s loyalties, as he must balance his loyalty to the club with his commitment to his marriage.

Nichols, helming his first film since 2016’s Midnight Special and Loving, does a good job of letting the audience be a sort of fly on the wall or feel as though we’re a part of this gang, hanging out, riding, and drinking, all in the Midwestern backdrop of the late ’60s and early ’70s. Suppose you are familiar with his previous films. In that case, it’s easy to know a story of this kind won’t be going for a bombastic time when it’s certainly more in tune with a grounded drama rather than action, aside from a few brawls here and there. The Bikeriders, which is almost reminiscent of Goodfellas in its vibe and less violent structure, is a distinct entity with themes of brotherhood and masculinity. The most gripping aspect of the narrative is the calm interworkings of the Vandals, which mask the imminent perils that await. Once Kathy fears for Benny’s life, especially after his foot gets nearly chopped off, is safety even an issue for him? Or is his love for the club to be next in line to take charge enough to be happy? More or less, if you are a viewer who enjoys essentially a hangout film, it’s perfect for your comfort with much on its mind. Above all, you must admire the aesthetic of recreating this period with the music, Grant Wood’s cinematography, and bikers acting like the coolest badasses in their territory.

As for those three lead performances, how could you not enjoy them? Butler’s career is only improving with each passing role, and his performance as Benny surprisingly keeps things to himself mostly while knowing there’s an anger about him he can’t shake off. When he does talk, he brings that effortless charisma that reminds me of a James Dean-type. Jodie Comer stands out from everybody who sees her pulling off a decent Midwest accent to be the anchor while serving as the narrator. But it’s great to see Hardy in a watchable movie since it feels like forever. Sure, his soft-spoken voice change is something to get used to, but it is not too distracting to make this character, Johnny, who created the gang after watching Marlon Brando in The Wild One, a respected leader in their circle, do what he does to protect his gang. Besides Hardy’s most memorable performance in years, any scene with Butler earns the film’s heart. Everybody else in the supporting cast had little to do, leaving some underdeveloped. Still, Mike Faist, frequent Nichols collaborator Michael Shannon, Boyd Holbrook, Damon Herriman, and Norman Reedus, who I forgot was in this until he showed up, had a solid presence nonetheless.

Side note: Butler and Comer were in Indianapolis to wave the green flag at the Indy 500 last month. It pained me not to be there since getting the chance to be close to them in the same space would’ve been a dream, especially since Comer is a recent celebrity crush of mine (who isn’t?). And I actually live about 15 minutes away from the Motor Speedway.

Despite the story feeling a little thin on what you think of when it’s true, the investment started with me that could benefit by being a bit longer. Probably the only character I didn’t care too much about was played by Toby Wallace, who wants to join the gang with his friends. Those scenes slowed things down and made me question the character’s purpose until the end. But while it wasn’t too focused on the plot, it’s a surprise to see someone indie like Nichols delve into the mainstream that worked.

The Bikeriders won’t be viewed as an Oscar contender by any stretch of the imagination. Still, it’s an engaging drama about the motorcycle culture of America that will more than likely appeal to hardcore enthusiasts and non-riders. Considering the talent on screen and taking us back to the throttle era, it’s an imperfectly nice, vintage ride.