Motor City stars Alan Ritchson as an ex-con army vet taking bloody vengeance on a ruthless drug dealer after he’s framed. The late ’70s actioner is resplendent with mutton chops, bell-bottoms, muscle cars, and big hair galore, but it’s another aspect that truly fascinates. Motor City literally has only a handful of dialogue lines across the entire runtime. It plays out like an hour-and-forty-minute music video roaring with classic period hits. The ensemble emotes the narrative through slick cinematography and editing tricks like slow-motion montages. The no-talking gimmick actually works for the majority of the film, but does feel a tad underwhelming during critical scenes of crushing loss and desperation.
In 1977 Detroit, John Miller (Ritchson) carries a limp body to a warehouse roof. He’s about to make a killer statement to the villains who took everything from him. The film then flashes back to happier times with Miller leaving his factory job covered in dirt and sweat. He’s got an important package to pick up, but doesn’t notice a car full of shady thugs trailing him. Several strange mishaps later, Miller arrives home to the love of his life.
Another flashback shows Miller smoking outside a club. The stunning Sophia (Shailene Woodley) storms out in a huff. He’s instantly smitten, and she can’t take her eyes off his towering physique. Their flirtation gets rudely interrupted by the stoned and belligerent Reynolds (Ben Foster), as he and his goons quickly learn that Miller isn’t a man to be trifled with. In the present, Miller remembers the joy in Sophia’s eyes before crooked cops smashed through their front door to arrest him.
Motor City is all style and adequate substance. Director Potsy Ponciroli, known for his music videos and the badass Western Old Henry, sticks to his artistic guns and never wavers. He’s got specific production design elements that immerse the audience into a grittier era. Ponciroli channels Martin Scorsese with grainy film stock à la Mean Streets and Taxi Driver, but then incorporates vivid lighting to highlight violence and trauma. This is quite effective when a muted color palette suddenly explodes with sharp contrasts. The eye-candy becomes a differentiator during glitzy, drug-fueled revelry, like disco dancing, and every scene where shotgun shells (Miller’s weapon of choice) are fired. Ponciroli also showers sparks in a savage climax that will have your adrenaline pumping. There’s no lack of action once Miller’s unleashed.
Motor City’s costume designer, Amy Roth (Paper Tiger), and Jamie Kelman (Oppenheimer), head make-up artist, also deserve credit for the film’s successful look. Ritchson runs the gamut of wigs as his flowing locks get shorter with Miller’s brutal subjugation. There’s no time for curls when getting pummeled in a jail cell. Woodley and Foster are especially flamboyant with sexy dresses and bare-chested silk shirts adorned with gold rope chains. Reynolds elicits a laugh-out-loud response when you first see him in full scumbag regalia. But the giggles cease once the depths of his depravity are revealed. This is where the supporting cast shines and bears the responsibility for the necessary exposition.
Ponciroli gives Ritchson heart; you feel his genuine affection and the cruelty of injustice when he’s incarcerated. But Woodley and Foster carry the heavy lifting while barely uttering a word. Sophia works as a waitress in a diner. She’s poor and desires a better life. Reynolds, who’s completely infatuated with her, lavishes expensive gifts and an exotic nightlife, but he’s a controlling criminal who views her as a prized possession. Sophia is happy slumming it with Miller. Their financial struggles are overcome by true love, which, of course, ignites burning jealousy from Reynolds. He’ll do anything to get her back and doesn’t bat an eye at sacrificing Miller. This heated love triangle works largely because of the acting performances, but sharp editing is key to selling the romance and eventual retribution.
Joe Galdo (Ferrari, Monkey Man) cuts the film in various ways to sell the near-silent story. He lingers in scenes for dramatic effect. This is constant throughout and allows the actors time for deeper expressions. He then employs slow motion for the weight of a scene to compound. Miller crying on his cell floor, and Reynolds, lost in a narcotic haze with Sophia, illustrate the callousness of his betrayal. All of which is done during the editing process in post-production. Factor in the crowd-pleasing score, and you have a film tailored to Ponciroli’s vision long after the cameras stopped rolling.
The bells and whistles are laudable, but Motor City’s gripping action is the primary draw. It opens with a bang, settles into a first-act plot lull, and then revs into high gear until the credits roll. The final fight scenes are ugly, graphic, and awesome in all the right ways. Secondary baddies, like Pablo Schreiber and his crew of henchmen, have significant roles and get their deserved comeuppance. You’ll want an aspirin and bandage after viewing. Ponciroli’s a dynamite action director. He utilizes Ritchson, who’s become Arnold Schwarzenegger without the accent, as both a scalpel and hammer while saying three lines. It’s like watching an action movie to a ’70s Spotify playlist.
- Release Date
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July 24, 2026
- Runtime
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103 Minutes
- Director
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Potsy Ponciroli
- Writers
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Chad St. John
- Producers
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Greg Silverman, Jon Berg, Chad St. John, Cliff Roberts, Joshua Harris
