THE BIKERIDERS - #2

The Bikeriders boasts a truly talented cast led by a spectacular performance from Jodie Comer who dazzles every second she is on screen, that despite an interesting look at the changing social context in America and the late 1960s and early 1970s through the lives of the members of the titular motorbike gang, the film runs out of gas by the end and gets lost on the road.

After being pulled last year due to the strikes to ensure that its star studded cast could promote the film and then losing its distributor, The Bikeriders has had a journey getting to the big screen. But almost six months after its original release date, it is revving its engine once again and finally opening across the nation. It also marks Jeff Nichols’ first film in almost eight years since 2016 when he premiered both Midnight Special and Loving. The film itself has gangster elements that harkens back to the works of Martin Scorsese, and with an all star cast led by Jodie Comer, Tom Hardy and Austin Butler, it’s easy to get excited for this film. The actual result is good, delivering the strong performances you would expect from such a cast, but the screenplay itself leaves you wanting more as it runs out of steam by the time it hits its final act.

With a lead cast that includes Comer, Hardy, and Butler, it's hard to go wrong with the performances. Hardy himself gives an intense yet quiet performance as the leader of the motorbike gang Johnny. Equally terrifying when called up as tender as he is in the more sentimental moments of the film, Hardy never for a second falters in his performance. Butler, hot off his critically acclaimed performances in Elvis and Dune: Part Two has achieved true movie star status. As Benny, Butler is effortlessly cool as he sports his leather jacket, perfectly styled hair (that seem immune to damage after his head is bashed into a bar) and smoking that cigarette with an undeniable bad boy vibe, making it near impossible not to be lost in the allure of his character. Though despite Benny being the pivotal character in the script, the writing leaves Butler with very little to do story wise other than to stand there and look pretty. He does exactly what the script calls for, but it's sad to see Butler’s talent go to waste. Michael Shannon is dependable as Zipco, while Mike Faist continues to prove himself one of the most talented young actors in the industry as Danny Lyon, the journalist whose book and photography serve as the inspiration for the film. The supporting cast is not short of talent with the likes of Boyd Holbrook, Norman Reedus, Michael Abbot Jr., Emory Cohen, Paul Sparks and Toby Wallace, but none of the men in the cast can measure up to Comer’s lead performance as Kathy.

As she continues to do with every role she takes on, Comer is nothing short of amazing as Kathy, the young woman who falls madly in love with Butler’s Benny and finds herself sucked into the lifestyle of this motorbike gang. While Comer’s accent comes across as comical at first, it perfectly matches the accent of the real Kathy and shows Comer’s commitment to her craft. But beyond the accent, Comer is a spitfire in the role, capturing a wit, strength and fortitude to Kathy that allows her to tower over her male co-stars. It’s a captivating turn that continues to prove what a phenomenal actress Comer is, and one that I have no doubt would have been in awards conversation had the film kept its original 2023 release date. Time will tell if Comer can remain in the awards conversation for the rest of the year given the film’s summer release date, but there is no doubt that this is yet another impressive performance to add to her diverse resume.

From a story perspective, there is something special about The Bikeriders. Looking at the changing social context in America through this biker gang is intriguing, watching the change in the members and their attitude with events like the Vietnam War changing the attitude of youths. Told from the perspective of our main couple, Kathy and Benny, there is an emotional hook and stakes to invest audiences in the story as Kathy recounts the events, leaving the audience questioning whether Benny survives. There is a Martin Scorsese feel to the film, capturing the tone of his famous gangster films with the comedic elements of Goodfellas. But heading into the final act, the film runs out of gas: storylines feel rushed, its sense of character disappears, and it feels like it comes to a grinding halt and loses its sense of intrigue. It’s not enough to completely derail the strong first two acts, but it feels like the film ends on a whimper rather than a rousing bang which ultimately prevents The Bikeriders from being a great film.

With the film being inspired by Danny Lyon’s photography, it comes as no surprise that the cinematography heavily draws influence from his photographs. It leads to some striking and gorgeous framing of the cast, a warm colour palette that feels like film stock, and some beautiful shots of the open road as the motorbike gang rides it, making it easy to get lost in the aesthetics of the film. Combined with good sound design that allows you to hear the vroom of the engines as the motorbikes whip across the screen, The Bikeriders becomes an enjoyable experience on the big screen that home theatre systems are easily able to replicate.

Even with its downfalls, there is enough to make a trip to the cinema worthwhile for Jeff Nichols’ latest film. There is no questioning that The Bikeriders has the sprawling cinematic feel as it depicts the changing social circumstances in America in the 60s and 70s as it dives into the lives of the members of this motorbike gang, with brutal violence, tender character moments and entrancing cinematography. But, it is the star studded cast that is worth the price of admission and is the highlight of the entire film. Led by an incredible lead performance from Jodie Comer with a strong supporting turn from Tom Hardy and Austin Butler oozing utter coolness, The Bikeriders crosses the finish line thanks to its impressive cast and strong first two acts even if it narratively gets lost on the road by the time it enters its final act.