A picture of danger, power, ego, and love
For all the op-eds, tweets, and seemingly endless well of discourse surrounding the ‘death of cinema’, I happen to think that 2024 has been a great year for movies so far. Yesterday, there were four movies that I wanted to see playing in my favourite cinema that I had to choose between; A Quiet Place: Day One, Horizon, Kinds of Kindness, and The Bikeriders. I chose The Bikeriders as it was the film I was looking forward to the least out of the lot. I had a ‘get it out of the way’ mentality to it that I’m not proud of.
This isn’t because I thought it would be bad. The unique combination of Austin Butler, Jodie Comer, and Tom Hardy pretty much guaranteed that it would at least be interesting to watch, but honestly, it was Mike Faist’s presence in the movie that hooked me the most. Challengers is one of my favourite movies of the year, and it put Faist on my radar in a big way.
Nevertheless, The Bikeriders didn’t have a compelling hook, a visionary director attached, or a strong behind-the-scenes narrative like the other films I could’ve seen yesterday, so I’m embarrassed to say I wasn’t giddy with excitement when I sat down for it. Maybe I should’ve been, but maybe my lack of expectations contributed to how blown away by this movie I was.
Revving Up
Covering a span of years from the mid-sixties to the early seventies, The Bikeriders tracks the rise of the motorcycle club known as the Vandals (based on the real-life Outlaws) through the lens of Kathy Cross (Comer), wife of the enigmatic and volatile biker Benny (Butler), who is being interviewed by Danny Lyon (Faist) for his photo book. President of the club is Johnny (Hardy), to whom Benny is utterly loyal.
Maybe that doesn’t sound all that gripping to you, so let me put it to you this way; The Bikeriders is Sons of Anarchy by way of Goodfellas. Director Jeff Nicholas paints a world of motorcycle riding in much the same way Scorsese did the world of the Mafia, showing the audience the thrills, the camaraderie, and power that comes with being a part of this exclusive group, before eventually diving into the institution’s more murky elements.
The triangular relationship between Kathy, Benny, and Johnny is the heart of the movie, and all of their respective actors are giving incredible performances. Comer inhabits her role in such a breezy, natural way that makes it all too easy to forget the impressive amount of work she must’ve put into her dialect and mannerisms. Butler is a stone wall of repressed emotion—the kind of guy who doesn’t speak a word more than he has to. And as for Hardy… I’ll admit, some might be put off by the choices he’s making here. His accent borders on bizarre, but his commitment to it and the way he’s able convey such genuine power and pathos through it… I am a fan.
Boy’s Club
Austin Butler has the biggest profile on the movie poster, but in terms of character, he’s perhaps the least interesting of the trio. Not that he’s boring, but Benny could be called predictable. Butler’s sheer magnetism adds a level intrigue to the kind of hot-headed loner character that many of us might’ve seen before, though.
But really, it was the dynamic between Comer and Hardy’s characters that had me leaning forward most often. Their conflicting perspectives regarding Benny’s wellbeing is always a great source of tension, but simply watching the various bikers in the gang reveal themselves to Mike Faist was equally entertaining.
The Bikeriders is, in a way, an exploration of how waylaid men come together to attempt to become a part of something after society rejects them. Johnny is oddly an exception to this—a guy with a wife and kids who just wanted to race motorbikes, but gladly takes to the role of leader of the group. Watching some of the riders—like Michael Shannon’s ‘Zipco’, for instance—unravel during some of their drinking sessions opens a window into their psychology in such wonderful ways. I could listen to some of these guys talk for hours.
Of course, as the Vandals expand, the centre cannot hold. Nothing built around a core of delicate egos, inexpressible emotions, and democracy by way of fisticuffs could ever maintain its purity in the face of uncontrolled growth. And there is purity here; an endearing loyalty seen in how the men of this movie rally together to defend their own. Watching corruption threaten this strange brand of allegiance is compelling beyond measure.
Conclusion
There’s no great plot to The Bikeriders. The film is kinetic—do yourself the favour of experiencing those rumbling motors in a cinema for God’s sake—but not action-packed. This is a drama; a slow burn; a woman questioning how her husband can go through life without shedding a single tear. It’s about giving yourself to something or somebody out of your control.
It is a beautifully composed movie with a depth worth mining, cool shots of cool dudes riding motorbikes, and three hot people acting deliciously well. What I’m saying is that there’s something for everyone here.
The Bikeriders might just be my biggest surprise hit of the year, and in a year that gave me Challengers, that’s saying something.
***
Thanks for reading my review. If you liked it, consider buying me a cup of coffee at https://ko-fi.com/kieranobrien
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