Based on Shannon Burke’s 2008 novel, Black Flies, Asphalt City brings a grimy, in-depth character study to light. Leading this dark drama is Tye Sheridan (Ready Player One, Scouts Guide to the Apocalypse), who also produces alongside his onscreen partner, Oscar-winner Sean Penn (Milk, Gangster Squad). As the lead, rookie paramedic Ollie, Sheridan carries the weight of some particularly difficult material. Director Jean-Stephane Sauvaire shoots for authenticity above shocks and twists. Being a paramedic is no easy job under normal circumstances, let alone under the high intensity of the New York City setting. Asphalt City‘s unhinged descent into the city’s seedy underbelly and the weight of its emotional trauma make for an uncomfortable and unforgiving watch.
Genuinely filmed in the city, the Brooklyn-locales rush by, and become a character of their own accord. Screenwriters Ryan King and Ben Mac Brown adapt Burke’s novel with finesse, doubling down on the strength of Ollie’s character. As the film begins, Ollie is thrown right into the middle of a chaotic situation involving gunshot victims. The searing sound envelops the viewer, thrusting them expressly into Ollie’s overwhelmed headspace. How does anyone stay sane enough in this line of work to drown out all the noise? Things only get worse from here. When losing a life and watching it literally drain from a person’s body becomes a daily occurrence, the only people who can relate are those who share the trauma.
Thus, organic conversations between Ollie and his partner, Gene ‘Rutovsky’ (Penn) feel relatable and sincere. Rutovsky plays the grizzled vet to Ollie’s naive newcomer. Interestingly enough, Mel Gibson was originally cast as Rutkowski, but replaced by Penn during the pre-sales process. Penn brings a pedigree and swagger to the role that sees him having full control of a restrained performance. As Asphalt City jumps from horrific scenario to nail-biting tragedy, it begins to feel akin to a gripping TV-MA television show from the 2000s. An old fashioned quality about the format simply works. Owing much to the building of atmospheric tension, Ollie’s gruelling time as a paramedic only underlines that very few are cut out for the medical field. Mike Tyson shows up in a surprisingly strong role as the Chief.
Certainly, the heaviness of the content could probably require many trigger warnings. Crackheads and overdoses are commonplace, and a scene where a mother shoots herself up with heroin midbirth to numb the pain really tugs at the heartstrings. As per usual and at the request of my editor, I have to mention a Dead Dog Alert; as much as Ollie tries to save this animal, the dog’s body ends up in his locker anyway as part of some sick lesson being taught. Adding to the ick factor is LaFontaine (Michael Pitt, Boardwalk Empire, Funny Games), a fellow EMT who lifts drugs off people they help for his own gain.
Of course, it helps that Sheridan and Penn complement each other spectacularly on screen, with the latter always feeling like a de facto big brother to the former. Asphalt City is at its most successful when it dips into moral ambiguity. Clear-cut black-and-white answers are not always so easy to come upon. Any movie that manages to ask its audience to take a good hard look at themselves in the mirror feels worthy of attention. The disturbing shades of realism will not be for everyone, yet Asphalt City marks an exciting teamup of yin/yang performers.
The nitty gritty streets of New York City are calling when Asphalt City rushes to theaters on Friday, March 29th.
