Az utolsó műszak

A zsarudráma szakértője, David Ayer POV-felvételekkel frissít, és egy Los Angeles-i rendőrpáros naplójából származó kivágásokból álló szekvenciát hoz létre. Az autóvezetés közbeni beszélgetésektől és a tűzoltók hőstettein át, az élet örömeiig (esküvő, utód születése), a fülledt házakban lemészárolt testek megtalálásáig és mechikán kígyó farkára rálépésig, ami nem maradhat következmények nélkül. A film nem cselekményre, hanem pillanatokra épül, helyenként szórakoztató és érdekes, de dramaturgiailag csak a fináléban tud lebilincselő lenni (bevallom, könnyes volt a szemem). A rendőrdrámák rajongóinak egy rendes adag, avatatlanoknak kicsit unalmas. Gyllenhaal és Peña mint mindig jók. Ha négy csillagot adtam Kiképzés... most háromnál kell maradnom. (2012.11.05)

A film so engrossed in its own form that it’s not important whether or not it has any content. The hypermedialised style without strictly maintained continuity between shots is partly excused by the fragmented nature of the plot; however, it’s a shame that its modernism is not appropriately reflected in the impression that the film makes, which is conversely very conservative (glorification of police work, suppression of signs of latent homosexuality in favour of the traditional family model). The actions of the central duo, who have transformed their service to their country into something between a video game and a reality show, are not subjected to criticism, which would be weakened anyway by the “empathetic” acceptance of their viewpoint and the expansion of the look into their lives with the addition of the private realm. Both of them obviously suffer from problems with self-control and employ methods that are as vicious as those of the goons that they take their anger out on. I won’t deny that a few shots are pretty damn cool (Gyllenhaal doing push-ups under neon lights) and Anna Kendrick smiles delightfully (the screenwriter didn’t give her anything else to do), but as it stands, End of Watch lacks depth, concept and any aesthetic quality. 70% (2012.11.05)

Good cop movie. The plot is not too heavy, it’s mostly only a peek into the daily routine of police work in a shitty neighbourhood of an American big city – a series of more or less unrelated scenes. We don’t get anything resembling a “main storyline” until about halfway, and then the “plot” happens as if by the way. Which doesn’t matter, because what’s important in End of Watch is the format, the authenticity, and the brutal and dirty aesthetics that result from both the theme and the way it’s captured. It’s not a movie that looks pretty, it alternates between cameras on police cars, hand-held cameras, body cameras and normal shots on film. Together, this produces a very interesting mosaic that feels considerably less constrained when compared to a pure found-footage format. (2012.11.15)

Without a solid plot skeleton, but with skillful direction and tight dramaturgical grip, David Ayer serves up a few snippets from the lives of ordinary cops who don't take drugs or bribes, but enforce the law to the best of their knowledge and conscience. It’s a good change that Ayer could have managed without the POV, but thanks to well-written and even better-acted characters (Gyllenhaal and Peña are one of the most coordinated cop duos ever), it works in every moment; including the fact that the last scene is absolutely the most emotional. 4 ½. (2013.01.16)

Sure, I could complain here about the camera and the sobriety with which this movie is made. However, I knew what I was getting into, and most importantly, there is still a high number of actors which I was really looking forward to. And so I started watching End of Watch, and lo and behold, it’s actually a beautiful and honest movie portraying the demanding work of police officers in Los Angeles, who fight drug cartels every day. It’s a kind of a peek into this world, plus it’s incredibly human, natural, and beautifully non-affected. I have to admit, I don’t do this every day, but I simply ignored the flaws of the camera in this movie. While at the beginning it wasn’t exactly a hit, the premise, the filmmaking craft and the actors made me praise it in the end. End of Watch may not be a film for everyone but giving it a chance is worth it. Maybe it can also surprise other people like me, who can’t stand shaky cameras. (2014.05.09)

A film that switches between a POV perspective and "classic" hand-held filming, between passion / police sentiment and a distant monitoring of strange guys for whom the service is an adrenaline ride (and it significantly affects them). The action scenes are brilliant and I must admit that I haven't felt such intense tension for a long time (Elite Squad?) - the combination of personal perspective and raw digital camera works great. As well as the everyday dialogues of both protagonists full of LA dialect and mundaneness. It is worse in terms of the attempts to look into privacy, in which the POV is a bit un-conceptual and disruptive, often as if it should rather obscure quite banal phrases. At the same time, End of Watch has no trouble dropping this sentiment several times. Unfortunately, the lavage between irony and fascination is mostly felt at the end, which is heading toward big things, but in the end it repeats semi-pathetically that which even a blind person could not miss... I give it what I give it for the great Gyllenhaal, the "unresolved" motif of guilt and a few great moments (the final shoot-out, the scene with a search of the house of the "old woman"). P.S. It would be interesting to compare "filming methods" in relation to Stone's thematically related film Savages! (2012.11.05)

At first what seems like a pure spectacle of reality, then a sinister psychological thriller in the guise of an action flick, and at last an overwhelmingly escalating drama of people doing hard work in an unbearable place. During the operations and the necessity to draw a weapon, you can truly feel every breath and drop of sweat, and thanks to Jake Gyllenhaal's sincere gaze, End of Watch will stay with me for a long time. The reason it didn't make the highest rating is precisely because of its main asset – realism. In its authentic filth, David Ayer's romp cut a little too close for me to simply see it as a "mere" spectator experience. (2014.02.14)

As in the past many times, I will be a rebel in this case as well and I will give End of Watch an unflattering report card. The fashion of films shot with a shaky handheld camera in a pseudo-documentary style has never appealed to me and in many cases, it just feels plain wrong. I could count on the fingers of one hand when a similar style used in a film had a legitimate reason. While the camera on a policeman could still be clumsily justified, on the criminal's side it looks like a failed joke and it's simply absurd. The macho behavior of the policemen is not sympathetic to me, the glorification of their work is obvious, and the pathos is at times unbearable. Although the film mentions that many policemen never fire a shot outside of training, both protagonists are busier than a frontline soldier during an offensive. The result is remarkably reminiscent of a failed reality show on an American commercial station. Overall impression: 25%. (2016.01.26)

A sincere movie about police work. Ayer doesn’t make movies otherwise than excellently. A series of various raids, crowned by the final massacre, boyish squabbling and family. Don’t expect anything more from this story. On the other hand Jake Gyllenhaal and Michael Peña make a perfect team. Form here has undergone extensive change. POV shots bring everything closer to reality (even though as such they aren’t very realistic) and wonderfully spice up these fajitas. The cool soundtrack helps too. Full marks from me. I am a consequence. I am the unpaid bill. (2012.11.13)

It’s evident that the people behind this film are knowledgeable in police work, as the whole thing appears unusually authentic, and they also have a sense of capturing the rawness of the contemporary world, or rather, crime in the USA. Aside from the blurred digital camera and the "live shooting," which in itself is authentically just around the corner, the harshness with which they depict seemingly ordinary days in a police department is unbelievable and unexpected. The desired catharsis arrives just right, without unnecessary sentimentality and pathos. It’s a concise and fast-paced film that knows exactly what it wants to say and how. It is not suitable for the faint-hearted, expect something that is not like a typical film, but rather an animalistic thing. (2013.09.08)

Sometimes fun, sometimes boring, sometimes idle romance and a ending so "strong" that I almost couldn't stand it. Moreover, the whole time I had to think about how and why End of Watch was filmed - at first it seemed that I would see the whole film through the cameras of its main characters, but then they were joined by the cameras of gangsters and others, and so that there are enough shaky shots, after a while a real movie camera played a home video. The pursuit of authenticity was shattered. (2016.08.27)

To what extent Ayer has captured the true reality and working life of a police officer in LA, unfortunately I cannot personally judge. But since people are, as we all know, ill-mannered animals and bustling American metropolises smell of sin infinitely more than our Czech backwaters, I recognize this stylishly shot and brilliantly acted vision of the "bad world" as cinematically valuable and culturally educational. It’s certainly appreciated, especially lately, to pour outthe greatest social waste into the wonderful United States. 80% (2014.03.18)

When I saw the first trailer for this movie in the cinema - and then I saw it several times more - I told myself that it's a strange found footage. But in the end, I was wrong. This film managed to grab my attention and showed me that it is still possible to make movies with the right drive using a handheld camera. They are well-actioned and not just something trying to make minimum money. "End of Watch" is not found footage, it's actually quite complicated what kind of camera it is. At times, it's really a handheld camera, and at times it's a static camera. Then you don't know if it's an attempt to create some sort of record or just a mixture of both. Some camera angles are simply weird and I don't fully understand what David Ayer is trying to do, but as soon as the cameraman has only a handheld camera, that he basically runs with, the image is shaky, perfect for action, and it's really good because of that. The film also excels in what it actually shows us. The story is not completely cohesive, it's still an exploration of police work and sometimes also of the lives of police officers, but as a whole, it doesn't have a more complex conclusion. The point here, of course, is a quite harsh ending, but the film could easily continue. Nevertheless, the film works well in this form, and as soon as there are action scenes, it's truly intense and keeps your attention. In addition, the main duo fits quite well and you will cheer for them, you will be interested in how it turns out for them, you will suffer with them. The film is also filled with a bit of beauty by Anna Kendrick, who I'm starting to become more interested in. That girl chooses interesting movies, even though she doesn't always have much space in them. More: http://www.filmovy-denik.cz/2013/01/little-ashes-nezapomen-na-me-butter.html (2013.03.05)