Rated
R (Strong Violence, Some Disturbing Images, Pervasive Language including Sexual
References, and Some Drug Use)
Running
Time: 1 Hour & 49 Minutes
Cast-
Jake
Gyllenhaal-Police Officer II Brian Taylor
Michael
Peña-Police Officer II Miguel 'Z' Zavala
Anna
Kendrick-Janet
Natalie
Martinez-Gabby Zavala
America
Ferrera-Police Officer Orozco
Cody
Horn-Police Officer Davis
David
Harbour-Police Officer Van Hauser
Frank
Grillo-Sarge
Maurice
Compte-Big Evil
Yahira
'Flakiss' Garcia-La La
Richard
Cabral-Demon
Everton
Lawrence-Man Friend
Directed
by David Ayer
 |
| Jake Gyllenhaal and Michael Peña are two regular LAPD cops who find themselves in the crosshairs of a Mexican drug cartel in David Ayer's latest film, "End of Watch." |
Despite
what you see in the movies, most police officers go through their entire
law-enforcement careers without ever firing their weapons. If you've ever
watched an episode of "COPS," you'll notice that most conflicts are
resolved through negotiation; there might be a physical struggle or a chase but
the use of firearms is considered to be a last resort. Some people may find the
average police officer as an annoyance who only cares about meeting his or her
traffic ticket quota but it's immediately clear that writer/director David Ayer
has a tremendous amount of respect for the men and women in blue who risk their
lives every day, all for a lousy paycheck. Born in Champaign, Illinois and
kicked out of his house by his parents when he was only a teenager, Ayer's experiences
living in South Central Los Angeles have become the inspiration for many of his
films. Ironically, his writing debut was Jonathan Mostow's submarine thriller "U-571"
but Ayer is best known for his work on 2001's "Training Day."
Directed by Antoine Fuqua, the film received largely positive reviews but
Denzel Washington's performance as a corrupt LAPD narcotics officer (a
departure from his usual roles) earned the actor an Academy Award in 2002. As a
director, Ayer has drawn a mixed reception but that's about to change with his
latest film, "End of Watch," his best work since "Training Day"
eleven years ago. In an attempt to differentiate itself from similar police
dramas, Ayer utilizes a found-footage style that is currently all the rage in
the horror genre but it ultimately proves to be an unnecessary gimmick. Viscerally
entertaining and boasting excellent performances from Jake Gyllenhaal and
Michael Peña, "End of Watch" is a surprisingly poignant tribute to
not just the LAPD but to every law-enforcement officer working
the beat, serving as a reminder that these people are just normal folks who put
their lives on the line day after day to protect their fellow man.
Police
officer II Brian Taylor (Jake Gyllenhaal) and his partner Miguel 'Z' Zavala
(Michael Peña) of the LAPD patrol the mean streets of South Central Los Angeles,
maintaining law and order on their daily rounds while each tries to lead some
semblance of a normal life. A former United States Marine, Taylor is currently
studying pre-law and decides to take filmmaking as part of his art elective.
Carrying a hand-held HD camera and also pining mini-cameras on his and Zavala's
uniforms, Taylor goes about documenting his professional life as a cop. Taking
place over the course of several months, the two officers spend their days
swapping stories about their loved ones and generally poking fun at each other
while thwarting the efforts of every two-bit thug and gangbanger that they come
across. Back at home, Zavala is expecting a baby with his wife, Gabby (Natalie
Martinez), whom he married right after high school. At the same time, Taylor
strikes up a relationship with Janet (Anna Kendrick), with the two growing
close despite the constant danger his job entails. Meanwhile, South Central Los
Angeles is currently gripped in a turf war between the Latino and African
American populations. One of these 'curbside gangs' led by a man nicknamed 'Big
Evil' (Maurice Compte) comes into the employ of a major Mexican drug cartel and
begins to set their sights on Taylor and Zavala when they find the two officers
interfering with their plans.
"End of Watch" is one of those films
that took me completely by surprise when I initially saw it at an advance
screening back in May. With the exception of "U-571," writer/director
David Ayer has built his career by concentrating his stories on the LAPD with
films like 2002's "Dark Blue" (a dramatization of the 1992 Los
Angeles Riots) and 2008's "Street Kings" but his latest work explores
a new perspective, focusing on two police officers trying their best to do some
good in a crime-ridden area of South Central Los Angeles. The plot is a little
on the thin side due to its episodic structure so what Ayer emphasizes is the brotherly
bond that Taylor and Zavala share, bringing to the audience's attention on what
motivates these two men to do what they do. Their relationship is by far the
strongest element in the film and many of the best (and funniest) scenes simply
involve Taylor and Zavala driving around in their squad car joking around and
being all-around immature jerks. That sense of camaraderie is captured so well that the dialogue had to have
been improvised. These two characters have a lot of heart despite their
reckless behavior at times, as the film also depicts how their respective
families and loved ones keep them grounded given the daily violence and harsh choices
that they face. During Taylor and Janet's wedding, Zavala tells every officer
in the room that they are also their
family now and must protect each other. Taylor and Zavala may carry a gun and a
badge but underneath their uniform are still two ordinary men; they aren't
perfect and may sometimes make morally questionable decisions but their decency
is never put into question.
While plot elements are sprinkled throughout the
film, it doesn't come into play until the last twenty or so minutes. Ayer instead
creates an 'a day in the life' vibe by following these two officers answering
calls, filing paperwork, and handling disputes. Each situation brings its own
set of challenges and "End of Watch" continuously ups the ante by
exploring some pretty dark territory. At one point, Taylor and Zavala come
across a house full of human trafficking victims but are unable to really help
since it's not their jurisdiction. Amidst all the violence, Ayer still manages
to include some simple acts of heroism such as Zavala rushing into a burning
house to rescue the children trapped inside without any hesitation, with Taylor
not far behind. The found-footage style has exclusively remained as a horror
subgenre but has begun to expand into others, such as Josh Trank's
"Chronicle," released back in March. Unfortunately, Ayer never
utilizes it in a consistent manner and it ultimately becomes a needless
distraction. It does bring a sense of urgency, especially during the last
twenty minutes as Taylor and Zavala are trapped in an apartment complex by Big
Evil and his gang, forcing them to shoot their way out to survive. This is an
intense action set-piece as the camera chaotically shakes and switches to a
first-person view like a video game. However, Ayer randomly throws in
establishing shots and there are some scenes where you're left scratching your
head as to who exactly is filming all this. Also, I find it hard to believe
that everyone just happens to have a
hand-held HD camera and is documenting themselves all at the same time.
Jake
Gyllenhaal and Michael Peña are both underrated actors but they put in some of
their best work here. With their quick-witted banter and natural chemistry, not
once did it ever occur to me that they were playing
police officers because they embody their respective characters completely. You
might even mistake them for real cops given how convincing they are when
handling all the technical police jargon. There are a number of secondary
characters and again, I am amazed at how the cast created such a sense of
familiarity with each other. Looking at the way Peña and Natalie Martinez
interact, it's as if they've known each for their whole lives. Bringing a nice
sense of levity is Anna Kendrick and I have to say, she is just so irresistibly
adorable. America Ferrera and Cody Horn also play two LAPD officers but they
largely exist peripherally. The gangsters themselves aren't played by any recognizable
actors but they sadly fall into a tired stereotype, their dialogue often filled
with the words 'sh*t' and 'fu*k.' This film has to hold some kind of world
record for F-bombs per second!
Released on September 21, 2012, "End of
Watch" has received largely positive reviews with 85% on Rotten Tomatoes.
Critics hailed that its 'energy, devotion to characters, and charismatic
performances [allows the film to] overcome the familiar pitfalls of both its
genre and its handheld format to present a fresh and exciting thriller.' I
actually saw this film way back in May, ahead of its world premiere at this
year's Toronto International Film Festival but I decided to see it again this
past Tuesday to refresh my memory for this review. The screening didn't exactly
draw a large crowd but I could tell that the audience was deeply engrossed by
the film and I swore I heard a couple of sniffles. As for its box office
prospects, it faces some tough competition from three other films so it'll probably settle for fourth place with
$10 to $12 million, unless "Dredd 3D" flops hard despite its equally
positive reviews. "End of Watch" is easily David Ayer's best work
since "Training Day" and while the plot is simplistic to a fault, the
film manages to make up for it with an emotional complexity that's absent from
most police dramas. I have to say that I have earned a newfound respect for the
law-enforcement officers that keep our streets safe from criminals.
Final
Rating: 4 out of 5
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