水果派AV

She plays Kathy, the motorcycle-gang-adjacent girlfriend who鈥檚 more than willing to talk about its personnel, relationships and shortcomings. In interviews with a photographer doing a book about the Vandals, she opens up, and isn鈥檛 afraid to call out the toughs in her way.

Comer towers, even in quiet moments where she鈥檚 sitting in the back of a room.

The photographer (played by Mike Faist) drinks it all in but doesn鈥檛 necessarily provide framework for a story.

That鈥檚 where director Jeff Nichols might have needed more context 鈥� why is the photographer doing the book, what does he hope to accomplish and why did it take nearly a decade to complete? Details could have explained why he got such access.

Still, he has Comer and that鈥檚 quite enough.

Quickly, we鈥檙e thrown into the bars and backroads where the Vandals rule. They鈥檙e threatened by rival groups but, thanks to the leadership of Johnny (Tom Hardy) and Benny (Austin Butler), aren鈥檛 toppled.

At parties, Nichols humanizes them and brings their story to an understandable level. This isn鈥檛 necessarily 鈥淪ons of Anarchy,鈥� but it is a hot take on bonding during an era where that didn鈥檛 seem possible.

Based on Danny Lyons鈥� photographic account of a Midwestern gang during the 1960s and 鈥�70s, 鈥淭he Bikeriders鈥� is as close to documentary as a fiction film gets. Hardy and Butler give it more than a little Brando/Fonda swagger and show just how comforting 鈥� and alarming 鈥� a motorcycle gang can be.

While Butler frequently smolders (this is in line with his 鈥淓lvis鈥� take on the 鈥�60s), Hardy more than opens up. His is a raw, fully formed performance that helps explain much.

Younger bikers split with their elders over the narcotic of choice and fail to provide respect to those in charge. The Vietnam War becomes an issue, too.

When the never-ending party threatens to get out of control, the leaders pull back and Butler pulls away. That rocks the Vandals, but it also gives Comer ample opportunity to comment.

When the dust settles (and, yup, this is set during a dusty era), it鈥檚 interesting how much is built around wanting to belong.

The visuals (based on Lyons鈥� photos) are superb; the music is appropriately ideal.

The acting, too, is memorable.

鈥淭he Bikeriders鈥� just lacks a reason for the journey. Why focus on them? Because they just were.