MOVIE OF THE WEEK (6/21/24): THE BIKERIDERS
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| "Our motors are running and we're heading out on the highway – because this is the late 1960s and gasoline is still cheap!" Benny (Austin Butler) and Johnny (Tom Hardy) in a scene from writer/director Jeff Nichols' THE BIKERIDERS, a Focus Features release. Credit: Kyle Kaplan/Focus Features © 2024 Focus Features, LLC. All Rights Reserved. |
WATCH THE TRAILER HERE:
DIRECTOR: Adill & Bilall (Adil El Arbi and Bilall Fallah)
THE BACK STORY: Inspired by Danny Lyon's book of the same name, THE BIKERIDERS stars Jodie Comer as Kathy, a woman living in/around Chicago in the mid 1960s. She is the paramour of Benny (Austin Butler), a rebellious young man who only cares about two things: His Harley-Davidson motorcyle and The Vandals, the bike club of which he is a member. The Vandals are essentially his family as he spends the majority of his time with its various members doing whatever it is they wish to do at any given moment.
The Vandals are led by Johnny (Tom Hardy), a stoic figure who's presence is understated, yet fully commanding in as much as he doesn't say compared to what he does. This is why he is rarely challenged, both on decisions and for leadership of the club, making him an inspiration to members like Cockroach (Emory Cohen), Zipco (Michael Shannon), Wahoo (Beau Knapp), Brucie (Damon Herriman) and Corky (Carl Glusman). They live life as they ride: Free and uninhibited with their brothers – and the occasional lady – at their side.
But as The Vandals begin to rise in prominence, they also begin to rise in notoriety, leading to run-ins with the law, townspeople and other bike clubs. But as Danny (Mike Faust) – a college student who interviews Kathy and documents the club's activities, the goal being to produce a book one day – Kathy and The Vandals will come to learn that all good things must eventually come to an end ...
THE REVIEW: Did you catch wind of that recent social media debate about which would a woman choose if she was stuck in the middle of the woods with the option of a bear or a man? Watching THE BIKERIDERS, the reasoning behind what would seem to be the ludicrous choice becomes clear from one scene to the next. For in presenting a masterful depiction of the rise of the American motorcycle club and its eventual demise from its glory days, writer/director Jeff Nichols and company have created a definitive 120 minute visual showcase of two words – toxic masculinity – inadvertently.
This is not to suggest by any means that the film is quote-unquote "bad" by any means; instead, in creating a tribute to the men (and women) that have been romanticized in popular culture, THE BIKERIDERS – whether intentionally or unintentionally as it seems – exposes the pitfalls and trappings of what is supposed to define masculinity (being "cool," "macho" and rebellious) for what they really are: Broken men looking for a sense of family, belonging, self-worth and purpose that have perpetuated from their origin to the 21st century.
While his turn as Elvis Presley may not have made him the true household name he surely sought to become, THE BIKERIDERS should help propel Austin Butler to the forefront. Coming with the standard issue teen idol/boyband heartthrob visual presentation, Butler shows that he can work a leather jacket, motorcycle and sideburns and not the other way around. While his character could easily come off as one note (and at times, almost does through no fault of his own due to the circumstances around him), Butler commands attention in each scene he in which he appears.
This in turn plays well off of Hardy's stoic, Tony Soprano-like performance as Johnny, a man who despite what should be considered the perfect family life for his era, desires something different, something animalistic, something more – his bike club allowing him to enjoy the king of the jungle status so many men crave. This makes he and Butler's character two peas in a proverbial pod, the old lion with his young apprentice, both of whom desire to be free of anything (except possibly each other) in an "us against the world" manner for the ages.
In turn, this makes the various members of their club – Army burnouts, blue collar workers who wouldn't stand out from the pack – look up to them, aspiring to be what they believe they are (true men) and unable to see their faults and flaws. This in turn is reflected in Toby Wallace's pivotal character, the classic product of a 1960s broken home who sets out to be the opposite of what he feels – trapped, lacking power and unable to become his own man. This is why he sets out on such a destructive path which, of course, leads to pivotal (if not predictable) moments in the film. Yes, there is brotherhood and camaraderie with certain times that reflect the "live free" spirit that THE BIKERIDERS seeks to celebrate ... But it's extremely hard to ignore the cost that comes with it.
This is why the film being narrated by Comer's character makes for the most interesting component of the film. In Kathy, we don't get so much of a woman discussing her wild times with her man, but almost more of a mother discussing her children, hoping that all of her prodigal sons will one day return home safely even though she knows they won't. (Maybe that's why a friend who is also a parent left an advance screening of the film, the moments of violence and profanity aside? Then again, this isn't exactly her "type" of movie to begin with, but I digress ...)
In a world where ideology is constantly evolving, THE BIKERIDERS, for some, will seem like a breath of fresh air, showcasing a time when "men were men" and how one should look to set their own path as opposing to bowing to society's standards. For others, it may seem like a documentary of the Cro-Magnon mindset seemingly responsible for all the world's current major problems - and who's to say which is right?
As a film, however, THE BIKERIDERS is entertaining - and maybe just leaving it as an intriguing piece of cinema versus the inspiration for a way of life is where it would best be served.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
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