Hollywood’s Hype Train Derails with The Bikeriders

The Bikeriders revs into theaters with a star-studded cast but sputters out as a forgettable mess. Despite festival premieres and big names like Tom Hardy and Austin Butler, the film by director Jeff Nichols is a hollow shell. Stunning actors abound, but the script lacks depth. Focusing on core characters instead of forgettable extras could have saved it.

The love story between Benny and Kathy is supposed to be the heart, but it’s flat-lining. Kathy (Jodie Comer) battles with the enigmatic Johnny (Hardy) and tolerates gang antics for Benny.

Yet, their love is unconvincing. Comer and Butler lack chemistry, and their relationship gets rushed development. “We were married five weeks later” – explanations for their deep connection are absent.

The film shines when it lightens up. It discusses the foolishness of men who chase a seemingly empowering but ultimately dangerous life. Nichols avoids glamorizing a brawl between Johnny and another biker.

As they grapple in the mud, it becomes a comical display of tough-guy posturing. Johnny’s biker gang isn’t about deep-seated masculinity; it’s a Marlon Brando wannabe fantasy.

The attempt to depict the gang’s dark side backfires horribly. A misunderstanding leads to Kathy being nearly assaulted by gang members. Johnny “saves” her, claiming mistaken identity. But this raises a disturbing question: who was the intended target?

The scene implies Kathy’s value hinges on her marital status within the gang. A missed opportunity to find the dangers women face becomes offensive slut-shaming.

Comer carries the film despite a questionable accent (not Killing Eve-worthy). Butler, the supposed heartthrob, disappoints. Benny is meant to be Kathy’s love and Johnny’s favorite, but he’s a brooding cipher. The script offers him no complexity. After showcasing his range in Dune, Butler’s talent is wasted here.

Tom Hardy delivers the film’s funniest performance, perhaps unintentionally. His accent is even more distracting than Comer’s, but it provides unintentional laughs. It’s unclear if we’re supposed to laugh with or at Johnny, but it’s a rare bright spot in a dull film.

The Bikeriders aspire to be epic but fall short. Comer tries valiantly, but the excessive filler, underdeveloped characters, and cacophony of strange accents doom the film.