Year: 2023

Runtime: 116 minutes

Director: Jeff Nichols

Writer: Jeff Nichols

Stars: Jodie Comer, Austin Butler, Tom Hardy, Michael Shannon, Mike Faist

By Calum Cooper

Jeff Nichols’ newest film captures the emboldened sense of freedom and growing zealousness of 60s and 70s America through the topic of biker gangs. However, its central character is that of Kathy (Jodie Comer), the wife of Benny (Austin Butler), a particularly ruthless member of the biker gang The Vandals, led by Johnny (Tom Hardy). Taking place from 1965 to 1973, the film is framed around an interview with Kathy as she reflects on her time with the Vandals and how the gang evolved for the worse over time.

“The Bikeriders” is as sleek as the vehicular engines that populate its screen. Like its riders, it’s unashamedly rambunctious, carrying a style that could be perceived as cool or intimidating depending on your outlook. Yet it has a lot more to its plate than just diesel powered thrills. It is a rather disquieting look at toxic masculinity and the ways in which cultural movements can grow beyond what its creators had in mind. The film does not always explore these themes concisely, but its topics of exploration are nonetheless fascinating.

Nichols and his team do a stellar job at capturing the appeal a biker gang like the Vandals would have. Although their emphasis on macho grittiness is discomforting to those not in the group, there is a sense of community and purpose to gangs such as this one that draws in the bikers. Despite their rough exteriors, they are lonely souls looking for a place to belong. That desire to be a part of something bigger influences Kathy’s attraction and Benny’s violent outbursts in the name of loyalty. Johnny even gets the idea for a gang by watching Marlon Brando in “The Wild One” (1953). The movement is a way for people to bond over a sense of masculinity – yet it is one that is just as fictitious as Brando’s character in “The Wild One”.

The technical prowess of the film runs in parallel to the evolution of the Vandals. It’s a sharply edited film that initially captures the allure and whirlwind passion of biker gangs, while not sugarcoating its chauvinist tendencies. The lingering shots of riding and the wide cinematography showcases a certain majesty to bike riding – a freedom that few other activities can bring. Yet, as the group gradually becomes more of a violent band of hooligans and gradually loses that sense of community Johnny originally envisioned, the grittier the editing becomes and the more overtly malicious its atmosphere. Nichols’ direction astutely reflects the mood, growing with the direction of the story. As the sense of freedom morphs into a longing for power, the potential calamities of such groups become apparent. 

““The Bikeriders” is a quintessentially Jeff Nichols’ picture in how it captures the humanity of its subject.”

The character dynamics go an especially long way in generating the nuance and intrigue of the setup and story. Conversations with the many colourful personas of the group, be it the quirky Cockroach (Emory Cohen of “Brooklyn” (2015)) or the aggressively blue collar Zipco (Michael Shannon), present a surprisingly diverse group amongst the excessive white maleness of it all. Benny and Johnny have particularly interesting chemistry, with Benny being a wild card that could explode into violence at any moment. Yet that inner wildness is juxtaposed by a deeply insecure desire to belong and appear manly, something that explains his actions while not excusing them. Johnny is one of Tom Hardy’s best roles, as a leader with a vast amount of power and influence, unafraid to teach his lessons through knives or fists. But there’s also a benignness to him, as though he is trying to contain the toxicity of his group while simultaneously exuding it for the sake of authority.

Framing the story from the point of view of Kathy was perhaps the film’s wisest decision. As an objective observer who admires the lifestyle of Benny and Johnny but recognises its toxicity and thus does not lionise it, Kathy’s voiceover narration (framed as interviews) grounds the narrative and provides the audience with a sufficient gateway into the powerful themes and filmmaking on display. It is a feminist overview on toxic masculinity, which is often the best way of addressing such a topic. Butler and Hardy are both engrossing in their performances, but Jodie Comer once again steals the show. Her ability to externalise a character’s inner conflicts and motives through how she interacts with people and environments, as well as her, frankly, terrifying ability to replicate any accent is second to none.

It’s a pity that the film, as impressively crafted as it is, doesn’t reach the heights of its thematic power. This is largely due to the imbalanced nature of its character juggling. While Kathy is the central character and overall voice of reason within this chaotic world, the film sometimes meanders off in the directions of side characters who, while entertaining in their own right, do somewhat detract from the captivating roles and pairings of the main trio. This choice means that parts of the film feel a little hollow in spite of the witty dialogue and committed performances. A touch more refinement in these areas so that less focus was taken away from the leads could’ve elevated this picture to even better heights than it already achieves.

“The Bikeriders” is a quintessentially Jeff Nichols’ picture in how it captures the humanity of its subject. The movement it portrays was in some ways the embodiment of a certain image of toxic masculinity – the kind of thuggish behaviour done in the name of personal freedom. Yet underneath that toxicity were people simply trying to belong in a messy and often unfair world. Whatever the film’s faults it is a compelling, even empathetic film that remains afloat thanks to its terrific performances and electric pacing. There will definitely be audiences who will eat this up with relish.