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Writer's pictureLiam Crooks

'The Bikeriders' Chronicles an Evolving Life on the Road

The 1960s saw a tidal wave of events that sparked massive cultural shifts in American society, particularly characterized by violence: the Vietnam War, multiple assassinations, and pertinently, the killing of a man by a Hell’s Angel at the Altamont Free Concert. The Bikeriders chronicles how a particular subculture was influenced by a changing society, with grim results. 

Based on the 1968 book by photographer Danny Lyons, in which he documented the lifestyle of the Chicago chapter of the Outlaws Motorcycle Club, Jeff Nichols’ The Bikeriders follows the fictional Chicago-based club the Vandals from their inception to their peak (or downfall, depending on how you see it). Led by Johnny (played by Tom Hardy, who adds another unique voice to his resume), the club begins as a place for guys who like bikes: they hang out, they drink, and they race. Sometimes they get rowdy, but that’s not the point – it’s about having a community. As the club grows, however, and new chapters spring forth in different cities, it suddenly no longer belongs to its creators. The motorcycle clubs as a whole transform into something else entirely. 


Jodie Comer is, for me, the star of the film. Her character Kathy is akin to Lorraine Bracco’s Karen in Goodfellas, serving as the outsider’s perspective on the events and personalities of the gang. Her introduction to the club is that she falls for black sheep Benny, played by a smoldering, jaw-clenching Austin Butler. Benny doesn’t quite know what he wants – he likes freedom, he likes the club, and he likes Kathy, but he can’t have all three. Comer gives a fantastic performance (featuring an impeccable Chicago accent) that illustrates her character's unbreakable strength of will, despite the constant harassment she suffers from the men around her. She doesn’t ever fully integrate into the gang, and urges a torn Benny to leave it behind as the motorcycle clubs become darker and more violent. An important aspect of Kathy’s experience is how she’s treated in a male-dominated subculture. She’s the only female character focused on in any detail, and throughout the film, she’s cat-called, groped and assaulted, with none of the men taking her very seriously. 

The cast is stacked with great performances, with every actor crafting a distinct personality that shines, even if only for a few moments. Standouts include Jeff Nichols regular Michael Shannon (Take Shelter, Knives Out), Norman Reedus (The Walking Dead), Damon Herriman (Charles Manson, twice), Mike Faist (Challengers), Boyd Holbrook (Logan), and Toby Wallace as The Kid (Pistol). 


Another element that stood out to me was the costuming, led by Erin Benach, who collaborated previously with Nichols on Midnight Special and Loving (she also designed the costumes for Drive, presumably having a hand in the now-iconic Scorpio bomber worn by Ryan Gosling). The outfits, all grimy denim and leather, are meticulously designed to the time period and culture; they’re characters in themselves. The bikers’ trademark vests, highly important articles of clothing that convey an individual’s affiliations, are adorned with patches and pins and show great attention to detail. In an interview with Spencer Williams, she details her process and takes us through the looks of particular characters and how they evolve throughout the film.

Toby Wallace’s antagonist, simply called The Kid, symbolizes the generational and cultural shift in the purpose of the clubs. A youth with a tumultuous home life, he’s initially rejected by the Vandals after approaching Johnny and agreeing to abandon his friends for membership, though he remains undeterred. The biker gangs always saw themselves as outsiders and outlaws, though their lawbreaking began as less severe: speeding and brawling, rather than murder and organized crime. The Kid serves as a stark reminder that each generation seems to become more predisposed to violence than the last, an issue that plagues our societies to this day. I very much liked the Sex Pistols miniseries Pistol which Wallace starred in a couple of years ago, and was pleased to see him in a small but significant role here.  


As someone who went into the film knowing little about the history or dynamics of a motorcycle club, I found it a refreshing era to learn about. Austin Butler has less screen time than I anticipated given his top billing, though every character is so engaging that scenes don’t suffer in his absence. I do wish that I had found the movie a little more hard-hitting. Despite such a strong cast and crew, the emotional tone felt fairly monotonous, with moments of tension and drama never quite reaching the peak that they needed to become memorable. Because of the film’s similar structure, I was often thinking of Goodfellas while watching it, which unfortunately made the story’s shortcomings more evident in comparison. I enjoyed the film regardless, and it’s a worthwhile watch for those interested in the ‘60s and biker culture. 

The Bikeriders premiered at the 50th Telluride Film Festival and was released in the USA on June 21, 2024. It’s available for rent or purchase as of July 9. 


-Liam

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