The charismatic performances of the cast are undoubtedly key to The Bikeriders' charm, particularly Comer's fast-talking reluctant romantic and Hardy as a beleaguered boss realizing he can't keep up with a changing world. Newcomer Toby Wallace (who also makes an impression in Kitty Green's The Royal Hotel) is well-cast as a chillingly determined wannabe, while a well-timed cameo from Norman Reedus as zonked-out Californian biker Funny Sonny is delightful. If there's one complaint to be made about the ensemble, it's that there's simply not enough Michael Shannon screentime.

Austin Butler as “Benny” in 20th Century Studios’ THE BIKERIDERS. Photo credit: Kyle Kaplan. All Rights Reserved.Hansberry, Lorraine (1964). The Movement: Documentary of a Struggle for Equality. New York: Simon and Schuster. OCLC 558219368. a b Feinberg, Scott (August 31, 2023). "Telluride Awards Analysis: 'The Bikeriders' Opens Fest, Puts Jodie Comer in Hunt for First Oscar Nom". The Hollywood Reporter . Retrieved September 1, 2023. Three boys and 'A Train' graffiti in Brooklyn's Lynch Park in New York City." By Danny Lyon, Brooklyn, NY, July 1974

The book is a seminal example of the practice called New Journalism, in which the writer or photographer is immersed in the scene he's documenting and is a participant in it. The rerelease of The Bikeriders is not only an homage to this movement, it reminds us to follow our instincts and react to the world as fearlessly as Lyon did.Conversations with the Dead (1971) was published with full cooperation of the Texas Department of Corrections. Lyon photographed in six prisons over a 14-month period in 1967–68. The series was printed in book form in 1971 by Holt publishing. The introduction points to a statement of purpose that the penal system of Texas is symbolic for incarceration everywhere. He states, "I tried with whatever power I had to make a picture of imprisonment as distressing as I knew it to be in reality." But these later works also reveal the radical humanism of Lyon’s practice, which depends not only on immersive engagement but also on an ethical person-to-person commitment to specific individuals and their needs and interests. The Whitney exhibition includes a roughly four-by-nine-foot bulletin board from Lyon’s upstate New York studio, incorporating photographs, negatives, postcards, gallery announcements, and personal letters—an accumulation from two decades, 1985 to 2005. This remarkable collage, as definitively as any of his photographs or books or films, shows Lyon remaking the image of himself as a series of fragments, a sequence of pictures whose symbolism is at once public and private, broadly legible and narrowly subaltern. Intensely political, he portrays his own selfhood not with certainty, but as he has always depicted his outlaw others: as provisional, unstable, continually becoming. Photography is not merely [Lyon's] occupation or livelihood. This medium and his life are inextricably linked, and he reveals this plainly through a seamless weaving of the personal and professional... A lovely informality results from this combination of elements, as if we are rummaging unfettered through his studio."— photo-eye