Why ‘Motor City’ Chose a Nearly Silent Approach in Its Revenge Thriller

Alan Ritchson’s latest crime drama has hit theaters, sparking conversations about its unique stylistic choice. ‘Motor City,’ directed by Potsy Ponciroli, unfolds a tale of betrayal and vengeance set in 1970s Detroit, yet it does so with minimal spoken dialogue throughout its duration.

The narrative follows John Miller, a man wrongfully imprisoned after falling for a local gangster’s girlfriend. Upon his release, he embarks on a quest for revenge against the individual who shattered his life and took away the woman he loved.

The film operates almost like a silent movie, relying heavily on sound and music, drawing parallels to John Woo’s 2023 action thriller ‘Silent Night,’ which similarly emphasized sound effects over spoken words. Critics have noted that viewers must quickly decide whether to embrace this unconventional approach or walk away.

Only a few words pierce through the film’s score, with profanity and declarations of love being the most common. Most interactions occur in silence or from afar, giving the film an operatic quality, as described by one reviewer.

Rotten Tomatoes users have shared mixed feelings, with one noting the film’s almost total silence and estimating that only about ten words were spoken throughout, while still praising the storytelling. Others found the format frustrating enough to leave mid-screening, highlighting the divisive nature of this choice.

The cast includes Alan Ritchson, Shailene Woodley, Ben Foster, and Pablo Schreiber, with Chad St. John penning the screenplay. Ritchson, recognized for his role as Jack Reacher, leads the film as John, characterized by critics as a soulful and physically commanding presence who communicates primarily through expression and action.

Originally cast when Timur Bekmambetov was set to direct, Ritchson remained when Potsy Ponciroli took over in May 2024, with Woodley, Foster, and Schreiber joining soon after. The film boasts a production budget of thirty million dollars, filmed by John Matysiak, edited by Joe Galdo, and scored by Steve Jablonsky.

Set during Detroit’s peak as the heart of the American auto industry, ‘Motor City’ immerses viewers in a specific time and place that critics argue is vital to its identity. One review depicted the setting as Motown during the height of the U.S. auto industry, filled with muscle cars and dedicated workers.

However, some reviews criticized the script, labeling the nearly wordless approach as a gimmick that obscures the familiar revenge narrative riddled with plot holes. This perspective contrasts with more favorable critiques that view the silence as a bold stylistic choice rather than a cover for weak writing.

Other reviews found a middle ground, noting that the lack of dialogue limits character development and emotional range. Characters often resort to pointing at photographs or written notes to advance the plot, which some argue constrains the film’s world despite its influences from crime classics like ‘The Friends of Eddie Coyle’ and ‘Rolling Thunder.’

Overall reception has been mixed yet engaged, with many critics acknowledging the film’s ambition even as opinions diverged on its execution. One outlet described it as a captivating blend of silent cinema and 1970s vigilante filmmaking, crediting Ritchson’s physicality for conveying much of the emotional depth. Another reviewer praised the choice to let composer Steve Jablonsky’s synth score take the lead instead of relying on a jukebox soundtrack, calling the outcome intoxicating.

However, not all feedback has been positive. Some critics pointed out that the action is too sparse to sustain the film’s near-silent structure, highlighting an elevator fight scene as a rare standout in an otherwise unclear narrative. Family-oriented review outlets have also flagged the film’s violence, noting that brutal moments occur against a backdrop of soul, rock, and disco tracks blended with original score work. You can also check out our review of ‘Motor City’.

Coverage has characterized the lack of dialogue as a central issue, despite strong performances from Ritchson and Foster and a soundtrack that many found effective. ‘Motor City’ premiered at the Venice International Film Festival in August 2025 before its U.S. release on July 24, 2026, with a runtime of 103 minutes.

Ultimately, whether the nearly wordless approach succeeds seems to hinge on the viewer’s perspective. Given the sharp divide among critics and audiences regarding Ritchson’s mostly silent performance, it raises the question of how those who experienced ‘Motor City’ in theaters responded to its bold gamble.