File this one under “Movies That Weren’t What I Expected”. Director Potsy Ponciroli’s latest feature, “Motor City” is full of big action and has a keen sense of style. But what’s notably absent is dialogue. Yes, this action crime thriller boasts an intriguing cast that includes Alan Ritchson, Ben Foster, Shailene Woodley, Ben McKenzie, and Pablo Schreiber. Yet outside of three or four muffled shouts, the film has no dialogue. It’s a conceit that handcuffs the film a bit, but that also energizes it with an inspired creative jolt.

Ponciroli’s previous films include the underappreciated 2021 Western “Old Henry” and the daffy 2024 crime comedy “Greedy People”. His latest is dramatically different than anything he has done before. With “Motor City”, Ponciroli creates and follows his own set of rules. He and screenwriter Chad St. John borrow a handful of ideas from known crime films from the past. But the original flourishes in Ponciroli’s execution are what makes “Motor City” hum.

Set in 1977 Detroit, Ritchson plays John Miller, a factory worker just off probation and with big plans to propose to his girlfriend Sophia (Woodley). Through a flashback we learn that Sophia used to be with a sleazy and abusive local gangster named Reynolds (Foster). And the obsessively possessive Reynolds hasn’t gotten over losing her. So he secretly frames John for drug trafficking. Now rather than planning a wedding, John is sentenced to 25 years in prison for a crime he didn’t commit.

After breaking up with John, an angry and heartbroken Sophia struggles to make ends meet on her own which is all according to Reynolds’ plan. He swoops in and takes her back, showering her with a lavish lifestyle while hiding his involvement in setting up her former fiancé. But it doesn’t take long for the abusive Reynolds to once again show his true colors. And Sophia’s life of luxury quickly takes a dark turn.

Meanwhile John gets word that it was Reynolds who set him up and who has Sophia at his mercy. So with the help of two close military buddies, Youngblood (Lionel Boyce) and Singh (Amar Chadha-Patel), John carries out a daring prison break. Once free, he sets his sights on rescuing Sophia and paying back Reynolds for all the pain he has caused. But that proves to be easier said than done, as Reynolds isn’t willing to go down without a violent, blood-soaked fight.

Ritchson, Foster, and Woodley serve up a solid central trio of characters, all of whom seem doomed by destiny in their own distinct ways. At the same time, other actors help to bring a gritty and grimy texture to “Motor City”. Boyce and Chadha-Patel are silent but imposing presences as John’s fiercely loyal friends. Ben McKenzie fits nicely as a noble police detective despite being underused. And Pablo Schreiber is genuinely menacing as a dirty cop on Reynolds’ payroll.

Ponciroli does a surprisingly good job developing his story with the absence of dialogue, relying heavily on visual strategy and a committed cast to move the narrative along. He also fills space with a snappy array of period tunes from artists such as David Bowie, The Moody Blues, Fleetwood Mac, Bill Withers, Foxy, and more. Overall it works, yet the lack of dialogue does inevitably add some unnecessary hurdles which can make it tough to understand certain character details and decisions.

“Motor City” is unquestionably built around one significant conceit. Yet it’s no one-trick movie. The film absolutely nails its gritty 1970s aesthetic (minus a couple of bad hair scenarios for Ritchson). And once it finally comes, the action is electric. It’s highlighted by an incredibly shot and edited elevator sequence that features one of the most savage fights ever put on screen. You literally can’t turn away from the brutality. It’s an unforgettable moment set within a pulpy throwback thriller that isn’t afraid to take a gutsy swing and that manages to speak volumes while (literally) barely uttering a word.

VERDICT – 3.5 STARS