“Black Flies,” as staged with maximum overwrought hand-held sensationalism by the French director Jean-Stéphane Sauvaire, has no plot at all. It’s just one lacerating if-it-bleeds-it-le…
play paramedics who spend their nights driving through hell . There are countless shots of the two in their EMS van, riding along under the tracks of an overhead subway train — the exact kind of grungy Brooklyn boulevard that Popeye Doyle went smashing through in the famous “French Connection” car/subway chase.
The whole idea of a screw-tightening thriller about parademics sounds, on paper at least, like a recipe for riveting drama. The two partners are kind of like cops, bouncing from one trauma to the next. At any moment, a rescue situation could be life-or-death. And the demands of the job are such that high stress becomes the very engine of the movie’s momentum.
Few saw or remember “Broken Vessels,” and “Bringing Out the Dead” is not a Scorsese film that even many Nicolas Cage fans have gone back to, but “Black Flies” draws heavily on both movies.
“Black Flies” opens with Rut and Cross arriving at the scene of a shooting, as the victims gush blood from assorted wounds. That sets the stakes for the movie, which is not going to be about the valiant saving of heart-attack victims; it’s going to be about rubbing the audience’s nose in the violence and squalor of the inner city.
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