Whether the cops in End of Watch talk like cops matters less than the joy of them talking like actual human beings. Jake Gyllenhaal and partner Michael Peña enjoy a natural chemistry that works with Ayer’s hyperactive, disjunctive direction to give the impression of normal police work on L.A. streets even as the calls to which they respond are not only blatantly cinematic on an individual basis but also link up in a building narrative arc. That frenetic direction is the result of handheld cameras, most of which appear diegetically, toted by cop and criminal alike as their colleagues attempt to dissuade the would be filmmakers from carrying around evidence against them. It figures: the one time these characters are spared the weight of allegorical importance, they strive to be symbolic stars of their own movies. Admittedly, the sheer frantic collision of shots holds the film back, but it also pays off in some nearly surreal setpieces, especially during a rescue effort in a burning house that actually manages to communicate the terror of heat forming physical barriers and exits being lost behind smokescreens at a second’s notice. Besides, the technique cannot be too distancing, as End of Watch creates an immediacy of emotional connection rare to cop films. Grade: B+
