End of Watch

"I think We killed that guy!" "Good."

Jake Gyllenhaal is a great actor. I think I first saw him in City Slickers, his first film appearance, albeit a minor role. I think I first saw him in a starring role in October Sky, a fun and heart-warming film. He's been only once nominated for an Academy Award; for his best performance to date in Brokeback Mountain. He's turned in splendid work in a great number of other starring roles, from Source Code to Zodiac to Brothers to Donnie Darko among many others. His sister is also very talented, but we won't get into that. Michael Pena, on the other hand, is an actor who has never much stuck out to me. I think I first saw him in Crash, and he's been in a number of other films, usually in supporting roles. But never have I watched him and seen him as an exceptional talent.

End of Watch gives both of these actors some of their best roles ever. For Gyllenhaal, this is his finest work since Brokeback Mountain. For Pena, this is his finest work ever, and many critics seem to agree. Both turn in Oscar worthy performances, but I see Pena more likely to be nominated if either are, simply because he's being campaigned as Supporting, and the Best Actor field is rather stacked this year with a collection of truly exceptional performances. The Supporting Actor field has yet to see any true stand-outs, aside from Philip S. Hoffman in The Master, who is probably the only lock in that field yet this year.

The director and writer, David Ayer, also has an impressive body of work. He didn't direct a film until 2006's Harsh Times, which I did not see, but wrote 2001's Training Day, for which he received a Best Original Screenplay Oscar nomination. That was a very good film, with two outstanding performances from Ethan Hawke and Denzel Washington. Its first half was better than its second, but overall it is still a very strong film.

Ayer has always seemed interested in writing films about police, in particular the LAPD. Training Day regarded a rookie LAPD narcotics officer assigned to a week of instruction under the guidance of a very corrupt cop, Alonzo Harris. Most films about police officers, especially those in Los Angeles or New York, seem to regard one or more corrupt cop characters. With End of Watch, Ayer gives us a film that is solely about two very decent police officers. These are two of the least corrupt cops ever put to the screen. Sure, not every single thing they do is by the books, but I would fathom a guess that no cop does everything by the book. But there's no doubt, Brian (Gyllenhaal) and Mike (Pena) are good people, good cops, and best friends.

In fact, it is their relationship that makes this film so effective. Their relationship feels incredibly natural, thanks to the two strong performances, and we really believe that they'd both lay down their lives for each other. Much of effectiveness of this film comes from the spectacular lead performances and chemistry of the actors, along with the inventive and unique direction by Ayer. Ayer's direction creates what is hands down the most realistic police-oriented film I have ever seen. If I didn't know Gyllenhaal and Pena were actors, you could show me certain scenes of this film and I'd entirely believe you if you told me it was a documentary. I've discovered Gyllenhaal and Pena underwent five-months of training, including up to three 12 hour ride-alongs per week. These actors truly absorbed everything they saw, and not for one moment was I unconvinced that these guys were cops. This isn't to say the film doesn't embellish for dramatic potential, but what good and entertaining films don't?

I won't go into the plot much in this review, because it isn't very important. The trailer tells you what you need to know of the plot - these two good cops accidentally draw the attention of a very dangerous cartel operating in South Central LA. That's all you need to know about the plot. The importance of this review is to describe how a plot that isn't exactly exceedingly original still results in an amazing film - namely via the superb performances, the unique hand-held, almost "found footage" design of the cinematography, and the expert attention to police procedural details that went into the making of this film. Everything from the writing to the most subtle details of the performances exudes an element of accurate craftsmanship; a labor of love, and finally a film that respects the intricacies and exactitudes of police-work, along with a respect for giving the audience what they want. This film is the perfect balance of an episode of COPS fused with dramatic writing that delivers a pleasing catharsis.

See this film because it is a unique one. See this film because it is the most realistic portrayal of cops I have ever seen in a major fictional motion picture. See this film because it contains two of the year's best performances. See this film because it is one of the year's best.

****/****