Remember the explosive hype and visceral thrill of “Mad Max: Fury Road”? Imagine that raw energy distilled, chrome-plated, and then… dropped. That’s the deflating experience of watching “The Bikeriders.” It’s like Hollywood asked, “What do bike riders in 2024 actually want to see?” and then completely missed the mark. While the acting shines, particularly Jodie Comer’s captivating performance and Austin Butler’s brooding presence, the screenplay is a sputtering engine, leaving us stranded in cinematic mediocrity.
The opening moments flicker with promise. Cool vintage aesthetics flash across the screen, underscored by a slick soundtrack, evoking a Tarantino-esque vibe that initially quickens the pulse. You’re almost ready to throw your fist in the air and shout, “Ride on!” But this fleeting inspiration is quickly flattened when Austin Butler’s character inexplicably gets roughed up in a bar simply for being a biker. Seriously? This tired trope feels less like a fresh take for 2024 bike riders and more like a dusty relic from a bygone era of filmmaking clichés. And unfortunately, the film never truly recovers from this stumble.
Let’s delve into some of the film’s critical missteps. Firstly, the biker gang proudly sports the “1%er” patch, a symbol historically associated with genuinely outlaw motorcycle clubs. However, “The Bikeriders” remains frustratingly vague about this crucial aspect. Are these characters hardened criminals? The movie offers no insight into their livelihoods or any criminal activities, painting a superficial picture of their lives. We witness fleeting glimpses, but are denied any real depth – we don’t even see the supposed central relationship between Butler and Comer’s characters develop into marriage. Were they supposed to be menacing outlaws, or just a weekend riding club, applying for corporate jobs come Monday morning? If the film aimed to portray a group primarily driven by a love for motorcycles – a sentiment that could resonate with many bike riders in 2024 – it fails to communicate this passion effectively. The gestures towards camaraderie are fleeting, devoid of genuine fervor or inspiration. We never truly feel the supposed allure of bike life.
For a film titled “The Bikeriders,” the sheer absence of compelling motorcycle content is baffling. Not once during the movie did I feel that familiar itch to hop on a bike and hit the open road. There are no truly captivating riding sequences, just a perfunctory chase scene riddled with clichés. The movie completely ignores the nuances of being a bike rider, especially in a city like Chicago. Despite spanning a decade, we never see a Chicago winter depicted. What do these supposed bike enthusiasts do when riding is impossible? Chicago winters are brutal. This crucial element of the biker experience is completely glossed over. They are depicted as enjoying racing, but we are given no access to the mechanics, the strategies, or the thrill of these races. Even more tellingly, Jodie Comer’s character mentions the gang’s “rules” repeatedly, emphasizing their importance. Yet, these fundamental rules are NEVER revealed to the audience. What are the core tenets that bind these “bikeriders”? We are left completely in the dark.
Ultimately, “The Bikeriders” feels like another piece of uninspired, overly cautious, and ultimately mediocre output from contemporary Hollywood. It lacks passion, feels strangely sterile, and delivers a deflated experience, much like so much of the big studio fare these days. Leaving the theater, disappointment was the overriding emotion. I yearned for authentic biker cinema and ended up revisiting classic late 60s and early 70s biker films on streaming. Movies like “Angels from Hell,” a low-budget gem, convey more about outlaw biker culture in five minutes than “The Bikeriders” manages in its entire two-hour runtime. Even Kathryn Bigelow’s early work, “The Loveless,” offers a more insightful and visceral portrayal of the outlaw biker mindset.
Comparisons to “Goodfellas” are utterly perplexing. “The Bikeriders” lacks any sense of danger, any truly unsettling moments, and ultimately, any real inspiration. It’s a far cry from a film that captures the spirit of bike riders, be it in the past or for audiences of 2024.
Perhaps it’s time to revisit “Fury Road” again. “The Bikeriders” feels more like “Feeble Road.” Six stars, generously, are awarded solely for the performances and costume design, and even that feels like a stretch.
