End of Watch
3/4
Starring: Jake Gyllenhaal, Michael Pena, Anna Kendrick, Natalie Martinez, David Harbour, Frank Grillo, America Ferrera
Rated R for Strong Violence, Some Disturbing Images, Pervasive Language including Sexual References and Some Drug Use
"End of Watch" is a wildly uneven but always interesting cop thriller from David Ayer, who wrote and directed "Street Kings," and wrote "Training Day." To tell his story, he uses the "first hand camera" approach that is popular with horror films, although this creates more problems than successes.
Brian Taylor (Gyllenhaal) and Mike Zavala (Pena) are partners in the LAPD. They're very close, and well, a little cocky. This gets them into trouble with their superiors, and more importantly, a drug cartel.
The plot doesn't kick into high gear until the final act. For most of the film, it's just following Brian and Mike as they go about their days. This stuff works; it's rare that we see characters, especially interesting ones, just be themselves without being shoehorned into a plot. It's refreshing and engaging in a similar way to the opening scene of "Cloverfield," although it's not as well done.
The performances are strong, although with Gyllenhaal, Pena and Kendrick (underused that she is) in it, that goes without saying. Gyllenhaal and Pena have good chemistry. It's never forced, although they're not going to go down in history as one of cinema's great buddy couples. The two stars also have good chemistry with their women; I wish we'd seen more of them.
Making a film from a first person perspective is meant to increase the sense of verisimilitude. This technique was made famous by "The Blair Witch Project" (although the film did not originate it), and has been effectively used in movies like the aforementioned "Cloverfield," "The Last Exorcism," and this year's "Chronicle."
If you notice, none of those films have big stars in them (although Lizzy Caplan, Odette Annable, and TJ Miller got their big breaks in "Cloverfield." Somehow Michael Stahl-David's career is still non-existent, despite the fact that he gave the best performance. That's Hollywood for you though). That verisimilitude is broken by the presence of actors we recognize. Gyllenhaal, Kendrick, and to a lesser extent, Pena, are too well known for this sort of thing. It's not the actors' fault, but it happens.
The decision on the part of Ayer to include footage from the gang members is a big flaw. It's unnecessary and takes away time that could be spent with Brian, Mike and the other characters while adding nothing. The fact that they too are using handheld cameras makes the whole thing seem contrived.
The film veers between realistic and preposterous like a winding country road. The majority of the scenes ring true, but there are some (like the fight with the drunk early in the film) that simply aren't believable.
Additionally, the ending is problematic. The final scene of the climax should have had more rehearsal and the decision to make it sort of out of order is kind of a cheat. The musical score is also unusual at times, to say the least.
Yet despite everything, I do recommend the film. The characters are interesting, and it is well acted and compelling. It takes chances, and while many don't pay off, the result is always interesting.
Starring: Jake Gyllenhaal, Michael Pena, Anna Kendrick, Natalie Martinez, David Harbour, Frank Grillo, America Ferrera
Rated R for Strong Violence, Some Disturbing Images, Pervasive Language including Sexual References and Some Drug Use
"End of Watch" is a wildly uneven but always interesting cop thriller from David Ayer, who wrote and directed "Street Kings," and wrote "Training Day." To tell his story, he uses the "first hand camera" approach that is popular with horror films, although this creates more problems than successes.
Brian Taylor (Gyllenhaal) and Mike Zavala (Pena) are partners in the LAPD. They're very close, and well, a little cocky. This gets them into trouble with their superiors, and more importantly, a drug cartel.
The plot doesn't kick into high gear until the final act. For most of the film, it's just following Brian and Mike as they go about their days. This stuff works; it's rare that we see characters, especially interesting ones, just be themselves without being shoehorned into a plot. It's refreshing and engaging in a similar way to the opening scene of "Cloverfield," although it's not as well done.
The performances are strong, although with Gyllenhaal, Pena and Kendrick (underused that she is) in it, that goes without saying. Gyllenhaal and Pena have good chemistry. It's never forced, although they're not going to go down in history as one of cinema's great buddy couples. The two stars also have good chemistry with their women; I wish we'd seen more of them.
Making a film from a first person perspective is meant to increase the sense of verisimilitude. This technique was made famous by "The Blair Witch Project" (although the film did not originate it), and has been effectively used in movies like the aforementioned "Cloverfield," "The Last Exorcism," and this year's "Chronicle."
If you notice, none of those films have big stars in them (although Lizzy Caplan, Odette Annable, and TJ Miller got their big breaks in "Cloverfield." Somehow Michael Stahl-David's career is still non-existent, despite the fact that he gave the best performance. That's Hollywood for you though). That verisimilitude is broken by the presence of actors we recognize. Gyllenhaal, Kendrick, and to a lesser extent, Pena, are too well known for this sort of thing. It's not the actors' fault, but it happens.
The decision on the part of Ayer to include footage from the gang members is a big flaw. It's unnecessary and takes away time that could be spent with Brian, Mike and the other characters while adding nothing. The fact that they too are using handheld cameras makes the whole thing seem contrived.
The film veers between realistic and preposterous like a winding country road. The majority of the scenes ring true, but there are some (like the fight with the drunk early in the film) that simply aren't believable.
Additionally, the ending is problematic. The final scene of the climax should have had more rehearsal and the decision to make it sort of out of order is kind of a cheat. The musical score is also unusual at times, to say the least.
Yet despite everything, I do recommend the film. The characters are interesting, and it is well acted and compelling. It takes chances, and while many don't pay off, the result is always interesting.
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