End of Watch

End of Watch is the latest LAPD drama by David Ayer, taking a unique look at two young patrolmen mostly through the eyes of a camcorder. A veteran of the genre, this is the 5th film in a row Ayer has written about the boys in blue, and the third he's directed. Trying to capitalize on the success of his first foray, Training Day, this time he follows the formula down a slightly different path.

Each of his previous four films pitted good cops against the pressures of the job, ultimately leading to their corruption or death. End of Watch is a cliche take on the genre, but it's refreshing as these two cops face the daily struggles of the job, but they keep their moral compasses straight up until the bitter end.

Jake Gyllenhaal and Michael Pena are the two hotshot patrolmen who form a bond stronger than family, forged through the chases, shootings, close calls, and glimpses of humanity at its most deplorable. There is realism to their characters, and that adds to the intensity and emotional investment. These two guys are good cops, and they are good people. It's a juxtaposition to see them functioning with sincerity and pride with the ordeals of the people living in the seediest part of Los Angeles. They love their jobs, and are good at them. They border on arrogant, but never cross the line into unlikeable. That's where Ayer did a nice job.

From the opening credits where we follow a speeding vehicle down back alleys and side streets from the perspective of the dashboard camera, the action doesn't let up. There are just enough sequences to keep the viewer on the edge of his seat, and although the plot gets a bit lofty and unreasonable, it remains grounded in its execution.

What separates End of Watch from other cop films is the use of POV cameras, conveniently thrown into the plot as Gyllenhaal's Officer Brian Taylor claims to be filming for his class. We never see him actually use the footage or go to class, and the film spans over a year, but that's a minor and forgivable hole in the plot. The camera adds to the authenticity as we see and hear them running after perps, raising their guns, busting down doors and making routine (or not so routine) traffic stops.

What I like about the film is that their actions follow a realistic approach. The profession is not glamorized like it is in so many other films, but it's also not patronized. They follow procedure and make decisions based on their knowledge, constantly trying to do what they think is the right thing to do. Sometimes to their own detriment.

There are some shocking scenes, and the pacing is nicely created with just enough building tension that then erupts into an action-packed moment. Ayer likes to use gang life as a crutch, and that's one of my concerns; his gang members are a bit too contrived. In this case, the cops earn the respect of the local Blood member by treating him "gangster" instead of sending him to prison for life. They also piss off the 13's by interrupting their drug and human trafficking enterprise. The Mexican gang members are made to be simpletons with no conscience or thoughts of their own. This is a recurring theme in Ayer films, and I'm not sure if it's intentional or subconscious, but they bring down the quality and authenticity of the film.

Aside from that, Pena and Gyllenhaal have great buddy cop chemistry. They make the viewer believe that they are best friends, and they both bring something to the partnership that makes them a strong team. There is a bit too much banter for my liking, but I suppose it makes them appear more human, and it does improve the likeability.

The supporting cast has a few glimmers. There is the female partnership of Cody Horn and America Ferrera who are the tough as nails women on duty. There's Anna Kendrick who plays Gyllenhaal's better half, and she really plays her part well. Innocent, funny, and fearless. But the best member of the cast is the gruff expressionless Officer, Van Hauser, played by David Harbour. He is given a great personality as a jaded veteran who seems almost annoyed by the success of his younger fellow Officers. He shows a deep respect for his profession, but is cynical and even gives them some helpful advice during a break.

This film succeeds where others in the genre fail in that this one doesn't go down the rabbit hole of corruption or conspiracy. It keeps its head above water and stays true to its original intent. That of realism.

You can tell that Ayer has a healthy respect for the profession and I'd be curious to learn more about his background and why he is fixated on the LAPD. I read somewhere that he grew up in a bad part of LA, but I'd also like to see what he can do beyond cop dramas (he also wrote U-571 and The Fast and the Furious). This is a better film than I was expecting, and great job acting all around. The ending is a bit cliche and predictable, but other than that, it's a fun action flick. 8/10.