TIFF 2025: Motor City Review

This will be one of many reviews during this year’s Toronto International Film Festival, to keep up with our latest coverage, click here.

On paper, Motor City reads as just another revenge film, this time with a throwback late 1970s feel. However, what makes this one stand out is its use of very limited dialog (five lines and plenty of grunting). Now this choice could go either way, either its genius, or pretentious. In this case, the film leans more towards the latter. Unlike the most recent attempt of a no dialog action movie, 2023’s Silent Night, which leaned on a mute main character to facilitate its premise, this film does not rely on a gimmick. Here, characters can talk, either they chose not to, or audiences can’t hear what they are saying. The point of this creative choice is one that is never justified but in the end, for many, it will work or not work at all. Using visuals to deliver exposition and great sound design to set the tone, the film is a decent showcase for its very capable lead in Alan Ritchson, but the rest of it leaves much to be desired. While there is little in the way of dialog, the derivative tropes are clear to see as the story plays out in an incredibly cheesy way, further emphasized by its score and soundtrack. Though predictable, there admittedly is some fun to be had in the cheesiness of it all, including a final act that is leaps and bounds better than the first two.

Set in 1977 Detroit, after John Miller (Ritchson) falls in love with Sophia (Woodley), the girl of local gangster Reynolds (Foster), he found himself framed and sent to prison. Stuck in prison as she drifted further away, the more frustrated John became. Finally plotting an escape years later, much bigger and stronger, he vowed to get the love of his life back and enact his revenge on those who stole his life by any means necessary. At that point, the story (or lack there of) that led to that moment essentially doesn’t matter as above all else, most audiences will be interested in one thing and one thing alone, watching Ritchson beat up on everyone and everything that stands in his way. Delivering on that, the level of violence and brutality is ratcheted up as the action moves in exciting fashion, featuring some great fight choreography and the camerawork to back it up.

Unsurprisingly, Ritchson is the clear standout of Motor City as, despite the lack of dialog, the cast mostly fit their respective roles. For the most part, they looked and acted the part, with the exception of Woodley’s Sophia, who certainly makes some baffling choices.

At the end of the day, Motor City is a decent throwback that takes a big risk that may not quite pay off but Alan Ritchson manages to carry its weight across his very broad shoulders.

still courtesy of Elevation Pictures

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.