Remember the explosive energy of “Mad Max: Fury Road,” where even a minor character’s chrome teeth and promise of Valhalla felt impactful? Imagine that level of cinematic intensity, then picture it completely deflated. That’s the experience of watching “The Bikeriders.” Instead of a thrilling Biker Movie, we get a stumbling, uninspired mess that leaves the audience feeling utterly underwhelmed. What has become of Hollywood when crafting a compelling screenplay seems like an insurmountable task?
While the acting in “The Bikeriders” is commendable – Jodie Comer is indeed a revelation, and Austin Butler commands attention even in near silence – the film itself is devoid of substance. The initial moments offered a glimmer of hope, a Tarantino-esque vibe with cool vintage aesthetics and a catchy soundtrack. For a fleeting moment, excitement sparked, but it quickly fizzled out. The narrative soon devolves into tired clichés, like Austin Butler’s character being assaulted in a bar simply for being a biker. This predictable сцена never elevates, setting the tone for a consistently disappointing biker movie experience.
One particularly jarring aspect is the portrayal of the biker gang. Sporting the “1%er” patch, traditionally associated with criminal biker gangs, the movie conspicuously avoids delving into any criminal activities or even the members’ livelihoods. Are these bikers criminals, or just weekend enthusiasts? “The Bikeriders” offers no insight, presenting their lives in a superficial manner. Even the supposed central relationship between Butler and Comer’s characters lacks depth; we don’t even witness their wedding. If the intention was to depict a purely motorcycle-loving club, that passion is utterly absent. Fleeting gestures hint at it, but genuine biker culture or love for motorcycles is never convincingly portrayed.
In fact, for a film titled “The Bikeriders,” motorcycles and riding take a backseat. There’s no inspiration to hit the open road after watching this. Cool riding shots are virtually nonexistent, save for a generic chase scene. The movie fails to explore the nuances of being a biker in Chicago. Despite spanning a decade, “The Bikeriders” completely ignores the harsh Chicago winters and how they impact biker culture. What do these supposed bike lovers do when they can’t ride? The film is silent. While racing is mentioned, the intricacies and culture surrounding it are unexplored. Even more baffling, Jodie Comer’s character mentions the gang “rules” twice, emphasizing their importance, yet these rules are never revealed to the audience. What are the codes and principles that define this biker gang? The movie leaves us in the dark.
“The Bikeriders” sadly embodies the uninspired and overly cautious filmmaking prevalent in Hollywood today. It’s passionless and mediocre, mirroring much of the output from major studios. The disappointment is palpable. Seeking a genuine biker movie experience, one is better off revisiting late 60s and early 70s biker films. “Angels from Hell,” a B-movie gem, achieves more in five minutes in depicting outlaw biker culture than “The Bikeriders” manages in its entirety. Even Kathryn Bigelow’s early work, “The Loveless,” surpasses “The Bikeriders” in capturing the outlaw biker mindset.
Comparisons to “Goodfellas” are utterly perplexing. “The Bikeriders” lacks any sense of danger, trauma, or inspiration – elements that define truly impactful cinema. Ultimately, revisiting “Mad Max: Fury Road” feels like a far more rewarding cinematic experience. “The Bikeriders” is less a furious ride and more of a feeble one. While the acting and costumes earn a meager six stars (or perhaps 5.5), the film as a whole is a significant letdown in the biker movie genre.
