25 best motorcycle movies ever
Stuff.tv's 25 best motorcycle movies ever – in no particular order – are:
TT: Closer to the Edge 3D (2011)
Featuring the unique character that is TT racer Guy Martin, this film really does take you closer to the edge – a couple of centimetres away from the kerb as you watch the young Northerner blast his way around the Isle of Man's roads at speeds where one mistake means serious injury or death. In 3D. Honestly, this race makes F1 look like a pillow fight on a bouncy castle.
Mad Max (1979)
Mad Max is one of those films where the title describes the character perfectly. MFP pursuit cop Max loses his best friend, wife and baby in one day – unsurprisingly sending him over the edge, and setting up a plot filled to the brim with explosions, car and bike chases all served on a bed of ice-cold revenge.
Because of the film's low budget – Mel Gibson was an unknown at this point, remember – some of the police in the films had costumes made from vinyl, and Kawasaki donated the motorbikes, including Goose's de-badged 1977 Z1000.
On Any Sunday (1971)
In a similar vein to that of TT: Closer to the Edge, On Any Sunday is an Oscar-nominated documentary by Bruce Brown that looks at why motorcycle racers and enthusiasts risk their lives.
Featuring the legendary Steve McQueen, On Any Day may be 40 years old, but this is one fascinating look at motorbiking that's still relevant. Just don't blame us if you go out and buy a motocross bike after you watch it.
Terminator 2: Judgment Day (1991)
"I need your clothes, your boots and your motorcycle," says Arnie to a luckless biker, relieving him of his leathers and his Harley Davidson Fatboy. Although a big heavy hog wouldn't be our ride of choice if we were chasing after a dirt bike and a truck through LA's storm drains, he does look bad to the bone. And that white-knuckle chase scene isn't T2's only bit of two-wheeled action – the T-1000 later jumps a police bike out of a building and onto a helicopter.
Electra Glide in Blue (1973)
When pint-sized motorcycle cop John Wintergreen believes a suicide is a murder, he gets his wish and is transferred to the homicide division. Unfortunately, the satisfaction from his promotion is short-lived and so begins a slow descent to a famously tragic conclusion.
Such was his faith in cinematographer Conrad Hall, director James William only paid himself a salary of $1 to free up the budget needed. Now that's devotion.