End of Watch: 9/10

Intense Cop Drama with a Best Picture feel, 22 October 2012


The world may definitely end in 2012 because the best film of the year is one with a "found footage" style of filmmaking.

End of Watch is a spectacular, haunting, and intense journey through the lives of two police officers and their squadron as well as the families of the main characters involved. While I expected good material from the man that helmed the script for the eternally underrated Training Day, I didn't expect to be overwhelmed, moved, and totally embedded in the lives of the characters presented. Unlike most films about cops which usually are presented as dirty, lazy, or with cruel intentions, this one showcases cops as homeland soldiers in the brutal battlefield of the ghettos and the underworld. This film may possibly even change your stance on policemen.

The plot is simple; it follows two cops (Jake Gyllenhaal and Michael Pena) in the course of around a year as they fight crime in the underbelly of one of the toughest parts of the country. Using secret cameras attached to their uniform they show the viewer the behind-the-scenes moments within the police department and then display some of the situations they get involved in—from the tiny disturbance calls to the more violent incidents that can occur in any time.

As if the writer used to be a cop himself (his research on the LAPD has definitely helped), David Ayer composed a script that not only throws our foot soldiers out into the crime world, but also gives us a glimpse into their social lives and how they remain connected with the job. And it is not just the script that made this cop flick unique, it was the cinematography. With the shaky found footage style, End of Watch comes off as much more realistic as the norm as the close-ups are intense, the action is right on your face, and sometimes the gruesome images find its way in center frame far longer than you desire.

Chemistry runs this film, and brings the dialogue to life. Jake Gyllenhaal is very hit-and-miss but delivers by far his best performance of his career as the hotshot cop with subtle issues that pops out every so often during the shift. Supporting him is the equally impressive Michael Pena as the Mexican cop that despite his obvious differences with his partner is an excellent companion as well as friend. Helping round out the cast are the hilarious sweethearts Anna Kendrick and Natalie Martinez.

This film doesn't have the summer blockbuster feel, it has the crime drama touch that combines itself with some hyperrealism through the kinetic filming style while adding the necessary humor and heart to maintain the film flowing without it becoming too overly dramatic or depressing. It is essentially the best film of the year because it delivers a powerful experience that never feels contorted, never feels cliché, and in a subtle manner celebrates one of the most heroic occupations in the country.

Kind of like Training Day.

And if your film deserves to be compared to that gem, then your film is worthy of recommendation.