SUPERMAN Review

Neither the character nor the symbol that is Superman (or Clark Kent, for that matter) has ever been considered cool, or edgy, or frankly all that interesting. Often referred to as the oldest living Boy Scout, Clark Kent and his alter ego have always meant to crystallize what was pure about humanity as imbued by those on the outside looking in. So, in a world where everyone is believed to have ulterior motives and no one’s intentions come purely from the goodness of their own heart where, and how, does Superman fit in? This seems to be the angle with which writer/director James Gunn - a man mostly known for telling saccharine stories about scumbags - has approached his Man of Steel movie for, while this is the first piece of Gunn’s larger, brand new DC cinematic universe, it is just as importantly a justification for why the character of Superman matters just as much as the Superman character does in today’s divided climate. Gunn didn’t seem a natural fit for a story anchored by a hero whose facets are limited if not a little one-dimensional but when viewed through the prism of questioning said character - and I mean Superman’s sincere mission of serving humanity in order to make the world a better place, just to be clear - when that character is called into question by those who once believed in him but have been turned mercilessly against him by the billionaires that control the narrative, the story automatically turns from one about fighting for truth, justice, and the American way to one asking and hopefully challenging audiences to investigate what those terms mean based on the source that is spouting them. 

It is no secret Gunn knows a thing or two about having ones past dug up in order to smear their name and reputation as Superman is subjected to very much the same treatment here. It is also no secret the current President and Lex Luthor would rather make detractors disappear than actually allow for said truth, justice, and the American way to be upheld, but it is somewhat surprising how overt this text is in the film and how it sustains itself throughout. A throughline involving Dinesh Thyagarajan’s Malik “Mali” Ali is the most visceral and brutal part of the film that now resonates in more ways than Gunn likely even intended when he initially wrote it. Is it a little funny for Gunn to equate his experiences to something on the scale Superman might experience? Sure, but in taking this approach to the character the writer/director finds his way to a hero who is both consistent with what the movies of the past have presented (I was just the right age to prefer Batman to Supes) while making the character, if not necessarily punk rock, at least a little more cool and edgy than we’re accustomed to. Further, Superman’s frustrations here fit the more modern aesthetic and world of the story as opposed to the retro ideals of Americana that seemed of the past even in the 1978 original. Superman, and Gunn’s version (and movie) specifically, still amounts to the belief that if we’re all a little kinder to one another the world will be a better place, but David Corenswet’s portrayal never for one moment makes us think we should mistake his kindness for softness; he is very much determined to do what it takes to keep basic human decency intact regardless of fabricated policies and political decorum.

CAPTAIN AMERICA: CIVIL WAR Review

Super hero movies, as we know them today, must walk the difficult line of being somewhat grounded in a reality audiences can relate to while at the same time embracing (not just accepting, but embracing) the inherent goofiness of the facts of the matter. In a broad scope, this is about guys and girls in colorful suits with silly nicknames duking it out with what tends to be (at least in the Marvel Cinematic Universe) a flavor of the week villain that does just enough to further the arc of what remains to be built in this ongoing series. What grounds these colorful characters sporting strange labels is the repercussions of their actions. The Avengers can shut down an entire alien race while destroying New York in the process and widely be regarded as the heroes of the scenario, but the fact of the matter is that if this were to happen in our reality there would be thousands upon thousands dead and even more injured. With the third Captain America film, Civil War, Marvel has found it the necessary time to begin giving their heroes more heady spaces to wander. Sure, there is still a bigger antagonist than either Steve Rogers (Chris Evans) or Tony Stark (Robert Downey Jr.) in Civil War that leads to the plot being more run of the mill than I was hoping things might go, but there is enough justification and perspective to this villains plan that we go with what we're being offered. Perspective is a key word here. Not only in the driving force that puts the team at odds over the still brewing conflict concerning The Winter Soldier (Sebastian Stan), but for these superior beings to take into account the consequences of their actions and come face to face with their shortcomings-the film more or less exploring how they deal with such realizations when they're brought up as potential charges. Captain America is a firm believer in consequentialism in that his goals are morally important enough that any method of achieving them are acceptable with the understanding of the unfortunate caveat that he will never be able to save everyone. It is in exploring such territory and being bold enough to bring their heroes face to face with such a reality that Marvel exceeds in walking that difficult line. Captain America: Civil War is very much a Marvel movie in that it is full of bright colors, genuinely funny quips, and some solid action set pieces, but bringing these characters (and these performers) into more interesting dynamics with one another notches up the reality factor with the result being an admirable balancing act that deserves to be applauded.

New Trailer for CAPTAIN AMERICA: CIVIL WAR

The new trailer for the highly anticipated Captain America: Civil War comes two weeks before the release of the other big super hero smackdown this year. While I'm sure Disney is keen to keep as much focus on their follow-up to Age of Ultron as possible it is likely smart they've chosen to go ahead and release this trailer for the masses to chew up, dissect, and discuss over the next week before becoming engulfed in the unavoidable frenzy that will surround Batman V Superman. Of course, the second season of Daredevil premieres on Netflix a week from Friday on the 18th, only a week prior to BvS, so maybe they don't actually care. Whichever way you cut it, Marvel looks to keep their name in the conversation no matter how many heroes Warner Bros. have stuffed into Dawn of Justice. With a month and a half or so to go before Civil War kicks off the 2016 summer movie season though, we knew this second trailer could drop at any time and the barrage of "team posters" over the last week as well as the short teasers posted on the films official Facebook page yesterday made it clear that day would be today. Working from a script by Winter Soldier scribes Christopher Markus and Stephen McFeely directors Joe and Anthony Russo return as well and look to have crafted something just as epic as fans of both the comics and the MCU could hope for. My biggest hope going into this second trailer was that Disney and Marvel would be smart enough to keep Spider-Man hidden throughout all of the marketing material as they clearly have plenty of other things to sell this property on, but unfortunately they couldn't help themselves. Captain America: Civil War stars Chris Evans, Robert Downey Jr, Sebastian Stan, Chadwick Boseman, Scarlett Johansson, Anthony Mackie, Paul Bettany, Jeremy Renner, Don Cheadle, Elizabeth Olsen, Paul Rudd, Emily VanCamp, Frank Grillo, William Hurt, Daniel Brühl, Martin Freeman, Tom Holland and opens on May 6, 2016.

First Trailer for THE PURGE: ELECTION YEAR

"Just remember all the good the purge does." This trailer reminds us of that sentiment as it comes to a close and in much the same way reminds us how necessary these films are for the sake of horror franchises at the moment. Writer/director James DeMonaco has been at the helm of this surprise saga since the beginning and while the concept has always been prime and the possibilities ripe for large social commentary it has felt like a turtle race to get to the point of actually realizing that potential. That said, I did like the second film much more than the first and can understand where, when taken as a trilogy of films, how that first contained story might seem necessary to understand the full impact of what this annual "purge night" does not only in the larger sense of things, but on the smallest of scales. While DeMonaco took a year off last year it seems that was purely intentional as he and Universal clearly had the idea of capitalizing on this years election by choosing that as their subtitle for this third installment. Growing in scale even more, this third Purge movie takes on the shifting ideals not only of the poor who are the ones largely being murdered during this evening of crime forgiveness, but of those with potential political power. Elizabeth Mitchell (Lost) stars as Senator Roan, one of the few politicians who wants to end the purge. Frank Grillo is also returning after his stint in the second film gave way to a revelation that has led him to take the necessary action to head up Roan's security presence as she begins her campaign for President. All in all, while neither of the previous films have left much of an impression there is slight anticipation here as it is clear DeMonaco is ambitious in expanding this universe. The Purge: Election Year also stars Mykelti Williamson, Raymond J. Barry, Ethan Phillips, Terry Serpico, David Aaron Baker, Edwin Hodge, and opens on July 1st, 2016.

First Trailer for CAPTAIN AMERICA: CIVIL WAR

The first trailer for the highly anticipated first film in Marvel's phase three has debuted and for all those (and there are a lot, including me) fans of Winter Soldier it looks like we have something very much in line with that previous Cap film. The question of whether or not this was still going to be a Captain America film after the expansive cast was announced is answered in the form of the Captain clearly being at the forefront of this trailer and presumably the film. The likeness to Winter Soldier isn't necessarily a negative comment either as I loved the look of that film and it looks to suit the very military/Avengers world in as suitable a manner as it did when S.H.I.E.L.D. was the main focus. That directors Joe and Anthony Russo are returning certainly explains a lot of the same aesthetic choices, but it also makes me excited to see what they'll be able to do with Infinity War Parts I and II. While, in the grand scheme of things, this may just prove to be a trial run compared to what they'll do in those films it looks as if the brothers, working from a script by Winter Soldier scribes Christopher Markus and Stephen McFeely, have crafted something just as epic as fans of both the comics and the MCU could hope. The portions that give us our first glimpse at Chadwick Boseman's Black Panther are some of the most exciting among the nearly two and half minute clip while the capper of Chris Evans' Steve Rogers and Sebastian Stan's Bucky Barns wailing on Robert Downey Jr.'s Iron Man only serves to escalate the anticipation. Also, it looks like Disney will again be pulling a Luke Skywalker and (hopefully) hiding Spider-Man from any marketing materials. Captain America: Civil War also stars Scarlett Johansson, Anthony Mackie, Paul Bettany, Jeremy Renner, Don Cheadle, Elizabeth Olsen, Paul Rudd, Emily VanCamp, Frank Grillo, William Hurt, Daniel Brühl, Tom Holland and opens on May 6, 2016.

THE PURGE: ANARCHY Review

Having re-watched the first Purge before going to see this quickly developed sequel I was reminded of what a good premise had been so messily squandered in execution. The idea of focusing in on one situation or opening up the world and giving a more well-rounded view is a difficult dilemma. Had the writer/director of both films, James DeMonaco, done with his premise the first time what he's done here he might have been criticized for trying to do too much. After having seen the sequel though it is clear that with such a layered and complicated world the possibilities might have been overwhelming to DeMonaco who chose to keep things simple the first time around. With the first film becoming a financial success though the studio was quick to greenlight and push into development a follow-up less than a year later which can, presumably, only boost a guys confidence. With that confidence DeMonaco has opened up his slightly futuristic world into what his one lawless night a year might be like not only for different individuals, but different classes of people according to society's structure. Given expectations weren't high for The Purge: Anarchy I'll try not to get too excited about how much better it is than the original while hopefully re-enforcing the fact it's still not a great or exceptional piece of cinema. Instead, this is a film that knows its end goal and accomplishes those goals well and does in fact deliver more on the promise of its interesting premise than its predecessor. From the advertising to the blatant acts of violence described as patriotism these films have always had a commentary in the back of their minds on the class systems of society and where our current situation may lead us. In this vein of thinking these films are more science fiction than horror in the way they preach nonviolence with violence and describe how escalating violence and economic issues brought the country to a breaking point that resulted in this annual event. These are naturally the more interesting aspects of the film and in Anarchy DeMonaco plays each of them up as he highlights the experiences of different groups of people from different ethnic and economic backgrounds creating a more captivating story and strong jeopardy we can all relate to.

CAPTAIN AMERICA: THE WINTER SOLDIER Review

The looming question after The Avengers was always going to be if movies only featuring one of the team members would suffice after this all-star team-up and while I enjoy Iron Man 3 more and more with each viewing and appreciate it for what it did for the character I have to say the opposite of The Dark World. The Thor sequel sacrificed going through with the clear demise of a character for the sake of fan affection and in no real way contributes to the larger arc of the story Marvel seems to be telling within its criss-crossed cinematic universe. I may come to regret that sentence when either Guardians of the Galaxy or Avengers: Age of Ultron takes some big notes from the introduction of the Aether that drives the plot in The Dark World, but for now it seems that the introduction of this new energy source could have served as a small subplot in the film rather than being the main reason for conflict while also providing Malekith's sole reason for existing in the film. With The Winter Soldier though, Marvel had its back to the wall in being forced to push the narrative forward as Captain America operates within the world most of our heroes also reside and more than that is affiliated with the organization that brought the super group together thus meaning if this sequel turned out to be a place holder then there was going to be a new wave of doubt in Marvel Studios and its master plan that would feel more off the cuff than meticulously planned. Lucky for audiences, Winter Soldier is both a solid film on its own terms and a solid entry in the Marvel canon that not only moves the story forward and reveals new, unexpected developments but also sets-up an interesting dynamic for how things will unfold in the upcoming films. Within all of these films the struggle is to make a sufficient stand-alone piece that works with what it is trying to accomplish on its own and without simply leaning on the fact there is another, inevitable chapter coming. As much as these Marvel films have become big, expensive episodes in an ever-evolving cinematic version of a television series, if they were going to survive as singular pieces of entertainment they were going to need to have a strong sense of individuality and The Winter Soldier, for the first time since The First Avenger, has that singular style and tone that separates it from its cohorts while understanding the necessities of contributing to things bigger than itself.

HOMEFRONT Review

It is always with a certain set of expectation that we approach the latest from Jason Statham. Usually, his name alone gives us a good indication as to what we're in for, but with his new film, Homefront, he breaks free of the slickly dressed, high-stakes city life many of his characters fit squarely into and decides to settle down into something akin to the quiet country life in small town Louisiana. Make no mistake, he still carries the badass history of a DEA agent that would frequently go undercover (we get a peak at this lifestyle in the opening scene of the film), but he is attempting to escape this world and thus is how we come to know his character, Phil Broker, which allows a different facade to the trope that Statham has inadvertently created for himself. This coupled with the fact he's not acting alone this time adds a level of intrigue and substance not seen in many of his recent, non-Expendable ventures. Not only do we have the chrome-domed action star heading things up, but a strong supporting cast including a hilariously ferocious James Franco, an impressive Kate Bosworth and Winona Ryder being utilized in just the right amount (with Omar Benson Miller thrown in for a dash of comedic relief) give more than enough reason for us to sit up and pay attention where we might normally feel we've seen this scenario one too many times before. It may simply be that the standard set of expectations were surpassed that allowed Homefront to leave a better impression, but there is that something special about this fun, throwback of an action flick that encapsulates pure, B-movie thrills with such expertise that it connects and delivers exactly what it promises while packing a little something extra in its punch.

First Trailer for CAPTAIN AMERICA: WINTER SOLDIER

Captain America: The First Avenger was surprisingly pleasant and satisfying. I have been unexpectedly excited to see what the follow-up has to offer as Marvel, in its ever revolving door of directors, hired Joe and Anthony Russo (Community, Happy Endings) and allowed them their take on the next chapter in the Captain's saga of adjusting to the modern world. Chris Evans continues to be in fine form and while this somewhat looks to be a higher-level, more expensive episode of Agents of S.H.I.E.L.D. it is nice to see the inclusion of Scarlett Johansson's Black Widow and Sam Jackson's Nick Fury still playing a prominent role in the development of our titular character. That the world continues to be consistent is one of the biggest pleasures this Marvel cinematic universe delivers. What I enjoyed most about this first trailer though is the fact it doesn't divulge every beat the eventual film will hit. We get a lot of fast paced, quick cut action montages and a glimpse into the main conflict that will be presented to Steve Rogers in the form of a moral dilemma with his employer. It is an interesting take as the makers could have just as easily pitted him against his nemesis, "The Winter Soldier" aka Bucky Barnes (Sebastian Stan) who apparently didn't die in the first film and left it at that. There is a lot more going on here though as Stan gets limited screen time in the teaser and hardly any close-ups until that final tease which is just enough to keep us interested. After seeing the trailer I'm certainly still excited to see what the film holds and hope the tone of a 70's thriller as the directors have referenced is indeed intact. Captain America: Winter Soldier also stars Cobie Smulders, Georges St-Pierre, Frank Grillo, Hayley Atwell, Toby Jones, Emily VanCamp, Maximiliano Hernández, Anthony Mackie, Robert Redford and opens on April 4, 2014.

DISCONNECT Home Video Review

Crash dealing with technology. This simple four word description is what I believed Disconnect to be before sitting down and giving it a shot. I liked Crash when it arrived back in 2005. Do I agree with it winning best picture? No, not necessarily, but it was a solid movie nonetheless and it elicited some genuine emotion from me and clearly other audience members throughout the film going community. This piece isn't about Crash though, but what I thought about that film likely informs how I feel about Disconnect because though it is not the carbon copy my expectations believed it to be it certainly has many of the same intentions and goes about accomplishing them in somewhat similar ways. In all honesty, I was engaged in this film from very early on. There are some films in which you embark on and immediately know you aren't ever going to really get into the material this visual interpretation is exploring and yet there is the other end of the spectrum where you become so wrapped up in the events of what is happening to the characters on screen that you hate to see the signals that the film will soon be coming to an end. That latter reaction is what happened with Disconnect. It was a very interesting play because it opens with the storyline that ends up becoming the least resolved, but is the most immediately shocking and gets your attention only to segway into the main title sequence that introduces us to our second set of characters against the backdrop of Awolnation's "Sail". Whether it was due to the use of this familiar yet still powerfully resonant song or simply to the supreme confidence director Henry Alex Rubin (Murderball) and writer Andrew Stern seem to have had in their material there was something immediately gripping and slightly epic about the way the film presented itself and to say the least, I was intrigued. Disconnect is a sprawling film that never loses its footing and digs deep into the human psyche and past the technology that its title suggests is the main cause of the rifts in the relationships documented here. That not only are these tools that are intended to keep us all connected separating actual human contact further, but allowing us to take advantage of one another in the least humane of ways.

First Trailer for HOMEFRONT

While he is not necessarily pushing the envelope at least Jason Statham continues to recognize what he does best and at the very least is always reliable. I stated in my review of Parker earlier this year that though the chrome-domed action stars choices may seem random and throw away the guy knows what he is doing and who he is working with. That seems more evident than ever with his latest as he was likely roped into it due to the fact his pal Sylvester Stallone adapted the screenplay from a Chuck Logan novel. Even as Statham and Stallone are now shooting the third entry in their Expendable series and Statham will be joining another of the biggest action franchises on the planet next year, they made time to make this piece of Americana flick that will debut around an American holiday that will have families together and people in the mood to sit back and enjoy a nice piece of action fluff that includes several recognizable faces. These guys know their game and they play it well while giving us a story of a dad and his daughter who move to a quiet town that seems to have a dirty secret. The twist on Statham's character this time around is that he is a DEA agent and this supposed quiet little town has a drug problem headed up by a guy known as Gator (James Franco). When Statham's daughter picks a fight with a kid who has a drugged out mommy in the form of Kate Bosworth she apparently sets off a firestorm that pits Gator against her father who is only more enraged to find out Phil Broker (Statham) is undercover. Sounds rather run of the mill and I can appreciate that, but I have no doubt this will be a passable time at the theater with director Gary Fleder (Runaway Jury, Kiss the Girls) at the helm and plenty of support behind and in front of the camera that seem to really believe in the project. Homefront also stars Winona Ryder, Rachelle Lafevre, Clancy Brown, Omar Benson Miller, Frank Grillo and opens on November 27th. Hit the jump to check out the first trailer now.

END OF WATCH Review

End of Watch is a great movie. It is as plain and simple as that. There could honestly be nothing more said about it and if, on that alone, you walked into a theater and experienced it for yourself you would come out nodding in agreement. It is a brutal, unflinching look at two cops in one of the most dangerous areas in the U.S. It centers around two partners and friends who are not related by blood but share the bond of family and hold it to be just as sacred. While there have been plenty of cop dramas in the last few years, and very good ones including this years Rampart, there is something fresh about this take on the day-to-day lives of two inner city cops. Maybe the fact this doesn't feature corrupt cops, cops getting in too deep undercover or any of the other typical situations we find our movie law enforcement officials getting into but instead are doing nothing more than going along for the ride. Watching End of Watch is like experiencing an in your face, real and raw episode of Cops. If Cops were to air on HBO this is probably what it would look and feel like. I didn't really know what to expect going into the film. Both leading men here have had their fair share of credible and award-worthy type films while also having starred in plenty of B-movies and nonstarters. This looked to naturally be in the former category for both actors but the same could also be said for writer and director David Ayer who has made a few films in this genre before. Sure, he wrote Training Day and directed the underrated Harsh Times, but he too has had a hand in a number of projects that attempted to capitalize on his successes that instead ended up being nothing more than generic. Do you remember Street Kings? Probably not. It is safe to say with End of Watch though that everyone involved has hit a home run.

Officer Taylor (Jake Gyllenhaal) and new girlfriend Janet
(Anna Kendrick) share a first date together.

From the beginning Ayer decided to keep it simple. Telling the story in its most basic form and not becoming overly worried or concerned with plot complications but instead allowing the characters and their interactions, their attitudes to do the work. Ayer has created two seemingly naturalistic characters on the page and Jake Gyllenhaal and Michael Pena have taken those blueprints and fleshed them out to living, breathing people who we could see actually hanging out with were they not the most fearless guys on the force. They have an intimidation factor to them, as any cops on film with certain egos will, but these guys are not above bowing down to the system either. They know their place and know better than to test their limits. They are rewarded by the work they do even if they feel like every single day pushes them to the limit of what they might be able to handle. As Brian, Gyllenhaal exudes a confidence in knowing what he wants to do with his time. He is smart, capable, and eager to move up in the ranks thus is the reason he is going to Law school and in the process has to take an art elective where he lands on filmmaking. With this little (and unnecessary) tidbit we are given the handheld camera that re-defines the "found footage" film. There is no pretending this really happened, it isn't cast with unknowns, the technique isn't used as much for the gimmick as it is to make the audience feel they are actually right in the middle of the action. It works, for the most part though it does sometimes feel like a stretch that even the gangs so conveniently have cameras in the most crucial of times as well. This little qualm can be easily dismissed and forgiven as the feature grabs you from moment one and doesn't let go over its nearly two hour run time.

Actors Gyllenhaal and Michael Pena as Officer Zavala
give award worthy performances.

Over the course of the film we become closer and closer to Officer Taylor (Gyllenhaal) and Officer Zavala (Pena) learning more about them and their tendencies as police officers. There is also a nice little community of officers that our two protagonists fit in with that is filled with small but merited performances of real value that are filled out by the likes of America Ferrera (Ugly Betty) Cody Horn (Magic Mike) and David Harbour as Officer Van Hauser. Beyond these small, but crucial roles in the believability of the atmosphere we also have Anna Kendrick (who is apparently the female Chris Messina) and Natalie Martinez as Taylor and Zavala's significant others. Talk of love, happiness and where to find these fill most of the conversations that our heroes have as they ride around patrolling the streets daily. There personal lives absolutely inform there day jobs and we see each of them develop in how much they allow what is going on outside of the patrol car inside it and what calls they decide to take, when they have the power to choose. As we are introduced to the two of them though they have a made a name for themselves by being legit street cops who don't take in the street criminals unless they absolutely have to. They don't abuse their power and they gain a reputation of respect among the locals who live in the decrepit houses on their block. That is of course until they stumble upon one too many cases involving a Mexican cartel that have taken over these neighborhoods. In doing this they uncover disturbing secrets upon more disturbing scenes. The in your face, unfiltered honesty of the piece mixed with the great chemistry that Gyllenhaal and Pena have make the movie not what you would traditionally call enjoyable entertainment, but it is inescapably engaging.

Mike Zavala and his wife Gabby (Natalie Martinez)
welcome a new addition to their family.

Though I didn't really know what to expect going into the film I certainly had high hopes after hearing such positive word of mouth. The film did not disappoint, if anything it surpassed anything I might have expected from another cop drama. That it is not just another cop drama allows it to stand out for defying the genre restrictions and by turning itself into a character study of the kinds of men it takes to wake up every day and go out there not knowing what they might face is exhilarating enough from a theater seat. I can't imagine the rush it must give these guys who enjoy such things. It is something I don't think I could ever do. It is made clear that not every police officer faces the day to day risk these guys do and that they pull their guns out more in one day than the majority would in an entire career. We understand this is specific to the region of LA it documents and it only makes the performances of the two lead actors all the more genuine in their portrayals. It shows how much they want it, how much they honestly couldn't live without it. No matter the story, the action or even the surrounding players, what it comes down to in the end that makes End of Watch not only so good as a film, but so exciting and real are the performances of Gyllenhaal and Pena. Their acting, their commitment is what raises the film above standard cop dramas that you might otherwise be able to catch on network TV any night of the week. As commanding and charming as Gyllenhaal is Pena could not have been a better match for him to feed off of and to make every scripted moment truly feel like the camera was catching two friends goof around while at the same time seamlessly slipping into moments of real meaning. The film will likely go unrecognized during the awards season for its standard premise, but End of Watch is something special, an experience not soon forgotten.

END OF WATCH Review

End of Watch is a great movie. It is as plain and simple as that. There could honestly be nothing more said about it and if, on that alone, you walked into a theater and experienced it for yourself you would come out nodding in agreement. It is a brutal, unflinching look at two cops in one of the most dangerous areas in the U.S. It centers around two partners and friends who are not related by blood but share the bond of family and hold it to be just as sacred. While there have been plenty of cop dramas in the last few years, and very good ones including this years Rampart, there is something fresh about this take on the day-to-day lives of two inner city cops. Maybe the fact this doesn't feature corrupt cops, cops getting in too deep undercover or any of the other typical situations we find our movie law enforcement officials getting into but instead are doing nothing more than going along for the ride. Watching End of Watch is like experiencing an in your face, real and raw episode of Cops. If Cops were to air on HBO this is probably what it would look and feel like. I didn't really know what to expect going into the film. Both leading men here have had their fair share of credible and award-worthy type films while also having starred in plenty of B-movies and nonstarters. This looked to naturally be in the former category for both actors but the same could also be said for writer and director David Ayer who has made a few films in this genre before. Sure, he wrote Training Day and directed the underrated Harsh Times, but he too has had a hand in a number of projects that attempted to capitalize on his successes that instead ended up being nothing more than generic. Do you remember Street Kings? Probably not. It is safe to say with End of Watch though that everyone involved has hit a home run.