Alan Ritchson is about to break some bones, and he isn’t going to talk about it.
Potsy Ponciroli’s latest film, Motor City, just premiered at the Venice International Film Festival, and critics are buzzing. Set in 1970s Detroit, the movie follows John Miller (Ritchson), an everyman auto-worker framed for a drug charge. He gets shipped off to prison courtesy of a corrupt cop played by Pablo Schreiber and a local gangster named Reynolds (Ben Foster). After getting out, Miller goes on a brutal, blood-soaked rampage against Reynolds, who also happened to steal his girlfriend, Sophia (Shailene Woodley).
IFC’s RLJE Films snatched up the distribution rights. The movie hits theaters for a wide US release on July 24, 2026.
But here is the catch. The movie operates almost entirely in silence.
Motor City features roughly five spoken lines across its entire runtime. Instead of snappy one-liners, the narrative relies entirely on heavy physical choreography and a pulsing 1970s rock soundtrack. That bold choice pays off. According to a review by Paste Magazine, the lack of dialogue forces the movie to lean heavily into its highly stylized 1970s aesthetic, making the revenge campaign feel genuinely visceral.
Getting this movie made was a nightmare. Chad St. John wrote the core screenplay way back in 2011. It sat on the Black List for over a decade. The project bounced around Hollywood, burning through directors and a bizarre list of attached leading men. Chris Evans, Dominic Cooper, and Jake Gyllenhaal all circled the drain. Gerard Butler even sued the producers over a pay-or-play deal. Now, under Ponciroli’s direction, the script finally escapes development hell.
Some early viewers noted the silent treatment limits the characters’ emotional depth, making it feel a bit gimmicky in the middle act. Sure. But the jaw-dropping vehicular action completely takes over by the third act. An analysis from Next Best Picture highlights the straightforward plot mechanics and praises the strong physical performances by the cast. Ritchson carries the film on his back with sheer, raw physicality.
The Verdict: You absolutely need to see this on the biggest screen possible. It trades complex character studies for unapologetic, high-octane 1970s grit. If you want deep emotional dialogue, skip it. If you want to watch Alan Ritchson dismantle a criminal empire with his bare hands while rock music blares, buy a ticket immediately.