Filmmaker Jeff Nichols’ period crime drama roars from the cinemas to the 4K disc format to enchant home theater owners in love with midwestern motorcycle culture in The Bikeriders (Universal Studios Home Entertainment, rated R, 116 minutes, 2:39:1 aspect ratio, $44.98).
Inspired by Danny Lyon’s photobook of the same name, the movie covers the violent evolution of the Chicago-based Vandals Motorcycle Club, a fictional version of the actual Outlaws Motorcycle Club, from 1965 to 1973 as they transitioned into an organized gang.
The story of the “club” comes to light via photojournalist Lyon (Mike Faist) as he interviews riders but focuses on Kathy Bauer (Jodie Comer), who fell in love with and married the newest Vandals’ member leader, Benny Cross (Austin Butler).
Mr. Nichol’s methodical exposition of the crumbling morality of a burgeoning biker gang plays out through some brutal characters sporting vintage Northside Chicago, working-class accents and mightily succeeds due to the phenomenal cast.
Not only do Ms. Comer and Mr. Butler (certainly channeling James Dean) carry the dramatic load, but heavyweights include Tom Hardy as gang leader Johnny (imagine Marlin Brando with a Chicago accent), Michael Shannon as trusted biker Zipco and Norman Reedus as the relocated California biker Funny Sonny.
Also, watch the end credits for some actual photos from the book that covered the gang in 1965.
4K in action: Sure, the ultra-high definition spotlights the production design on urban neighborhoods and gritty cinematography, but viewers also will be impressed by the incredible collection of vintage motorcycles assembled, including the 1956 Harley-Davidson FLH.
Equally eye-catching is the costuming of the gang relegated to greasy and dirty jeans, leather and jean jackets with embroidered patches, and scuffed leather boots.
And, hearing those mechanical beasts is equally immersive, thanks to the all-surrounding Dolby Atmos mix as engines roar from the speakers.
Best extras: An optional commentary track with Mr. Nichols, who also wrote the script, sheds plenty of light on his love for the project, its background and the production.
Often focused on the source material, the director covers the subtext of the narrative, diving into his “hybrid” film that mixes fact and fiction such as some of the dialogue for Kathy was taken directly from Mr. Lyon’s original audiotapes.
The memories of the 15-year odyssey to make the film play out as the director offers much introspection of his thematic and cinematic choices.
He covers why he used Kathy as the narrator, on deciding to shoot the film in Cincinnati, his vintage musical choices, casting choices, coordinating the mud fight sequence and identifying the characters’ real-life counterparts in the photos at the end of the film.
Viewers then only get three short featurettes: three minutes on the production; a three-minute spotlight on the director; and a little more than three minutes in a minuscule look at the vintage clothing and motorcycles used in the film.
Unfortunately, viewers get very few specifics on the types and years of the bikes used and that is too bad since they were occasionally the stars of the movie.
• Joseph Szadkowski can be reached at jszadkowski@washingtontimes.com.
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