End of Watch

Two young officers are marked for death after confiscating a small cache of money and firearms from the members of a notorious cartel during a routine traffic stop.
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Credits: TheMovieDb.

Film Cast:

  • Brian Taylor: Jake Gyllenhaal
  • Mike Zavala: Michael Peña
  • Gabby Zavala: Natalie Martinez
  • Janet Taylor: Anna Kendrick
  • Van Hauser: David Harbour
  • Sarge: Frank Grillo
  • Officer Orozco: America Ferrera
  • Officer Davis: Cody Horn
  • Bonita: Shondrella Avery
  • Homicide Detective 2: Hugh Daly
  • Officer Cho: Gene Hong
  • Mr. Tre: Cle Shaheed Sloan
  • Captain Reese: Jaime FitzSimons
  • Man Friend: Everton Lawrence
  • Too Tall: Zone
  • Peanut: Alvin Norman
  • Demon: Richard Cabral
  • Wicked: Diamonique
  • Big Evil: Maurice Compte
  • La La: Flakiss
  • Casper: Manny Jimenez Jr.
  • Cindy: Nikki Nicholle Barreras
  • Sook: Kristy Wu
  • Sharice: Candace Smith
  • Jazmine: Corina Calderon
  • Spooky: David Fernandez Jr.
  • Williams: McKinley Freeman
  • Ice Agent: Kevin Vance
  • Mexican Cowboy: David Castañeda
  • LAPD Honor Guard: John A. Russo

Film Crew:

  • Executive Producer: Jake Gyllenhaal
  • Editor: Dody Dorn
  • Casting: Mary Vernieu
  • Executive Producer: Guy East
  • Dolby Consultant: Andy Potvin
  • Producer: David Ayer
  • Art Direction: Kevin Constant
  • Sound Designer: Roland N. Thai
  • Executive Producer: Randall Emmett
  • Makeup Effects: Matthew W. Mungle
  • Costume Design: Mary Claire Hannan
  • Production Design: Devorah Herbert
  • Original Music Composer: David Sardy
  • Set Decoration: Betty Berberian
  • Hairstylist: Waldo Sanchez
  • Makeup Effects: Clinton Wayne
  • Choreographer: JoAnn Fregalette Jansen
  • Executive Producer: Chrisann Verges
  • Director of Photography: Roman Vasyanov
  • Stunt Coordinator: Mike Gunther
  • Musician: Kid Rock
  • Foley: James Moriana
  • Foley: Jeffrey Wilhoit
  • Executive Producer: Tobin Armbrust
  • Executive Producer: Remington Chase
  • Sound Re-Recording Mixer: Joe Barnett
  • Casting: Lindsay Graham
  • Foley: Gary A. Hecker
  • Producer: Matt Jackson
  • Producer: John Lesher
  • Executive Producer: Adam Kassan
  • Technical Advisor: Jaime FitzSimons
  • Additional Music: Flakiss
  • Executive Producer: Stephen Martirosyan
  • Special Effects Coordinator: Kevin Hannigan
  • Makeup Department Head: Tina Roesler Kerwin
  • Construction Coordinator: Douglas Womack
  • Sound Re-Recording Mixer: Christian P. Minkler
  • Music Editor: Clint Bennett
  • Music Editor: Chris Newlin
  • Digital Intermediate: Amy Pawlowski
  • Camera Operator: Jake Avignone
  • Publicist: Alex L. Worman
  • Property Master: Tommy Tomlinson
  • Supervising Sound Editor: Michael D. Wilhoit
  • Still Photographer: Scott Garfield
  • Dialogue Editor: Kimberly Ellis
  • Music Editor: Steve Duncan
  • Hairstylist: Arturo Rojas
  • Makeup Artist: Heather Mages
  • Art Department Coordinator: Alex Hunter
  • Property Master: Michael Vines
  • Visual Effects Producer: Phillip Hoffman
  • Visual Effects Supervisor: Adam Avitabile
  • Camera Operator: Micky Froehlich
  • Rigging Gaffer: Louie Ceredez
  • Costume Supervisor: Robert Iannaccone
  • Set Costumer: Matt Chase
  • Digital Intermediate: Robert E. Phillips
  • Digital Intermediate: Rosalie A. Staley
  • First Assistant Editor: Halima K. Gilliam
  • Location Manager: Earl West
  • Unit Publicist: Amy Cohn
  • Studio Teachers: David Quierolo
  • Music Supervisor: Season Kent
  • Music Supervisor: Gabe Hilfer

Movie Reviews:

  • LastCaress1972: Officers Taylor (Jake Gyllenhaal) and Zavala (Michael Peña) are LA beat cops, partnered up a long time. We watch them in action via a number of set pieces, and see that they’re cynical enough to interpret the rules as necessary but still by a long, long stretch good and decent cops that will risk their lives in carrying out their duties at a moment’s notice. Zavala is already blissfully happily married with a baby on the way, Taylor has just met a sweet Irish gal and over the course of the film we see their relationship blossom and grow. These two men are like the closest of brothers. It’s all good to see. One day, their dedication to the job causes them to stumble in over their pay grade into a much larger drug cartel and human trafficking operation than regular beat cops would usually encounter. Homeland Security agents appear, having apparently already been monitoring the situation, and warn our boys that they’ve bloodied the wrong noses, and they’d better lay low.

    I HATE a dumb actioner, and this ain’t that. Well, it DOES contain all of the standard tropes and cliches (buddy cops, stumbling in over their heads into some drug cartel hoo-haa; the bad guys all being relentlessly bad 24/7, permanently scowling, growling and barking at one another, etc.), but done ever-so-well; reminiscent to me of how [REC] didn’t contain anything new or fresh whatsoever, but did all of what it did very well indeed and it came across as fresh as a result.

    It’s shot mostly cinéma vérité-style, utilising a plotline in which officer Taylor is shooting a documentary piece for a student course he’s taking. However, it switches between between first and third-person narrative a la Modern Family, but when it switches to third-person it retains a very documentary-like feel, so it all feels quite seamless.

    It wilts a little just past the halfway mark but picks up enormously for the final third. Also, when it’s violent (which isn’t often), it’s unexpectedly VERY violent.

    I’d give it an 8/10 and recommend that it’s worth at least a look. And I’m not a fan of L.A. guns/bloods/crips/gangs/urban/drugs/cops films.

  • Gimly: A good duo at the forefront of this thing, but I don’t especially care for the half-assed documentary schematic or, you know… cops.

    _Final rating:★★★ – I liked it. Would personally recommend you give it a _

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