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JT (287 KP) rated End of Watch (2012) in Movies
Mar 10, 2020
Officer Brian Taylor’s (Jake Gyllenhaal) opening monologue in which we see a car chase and shoot out from the front dashboard camera of a Los Angeles black and white, sets the tone for what will be a gripping action flick.
It’s an indication that this cop film is not going to be as clear cut as any before it, and its no frills policy will surely shock most viewers as officers Taylor and Zavala (Michael Peña) tackle everything from the mundane to the murderous on their watch. We follow the pair during their daily routines which includes in the locker room, the briefing room as well as unique camera set ups from inside the patrol car and a hand held that Taylor carries along with him.
It’s incredibly well shot, and takes the conventional cop film and gives it a big slice of realism. It would give you the impression of what a real ride along might include, and the kinds of situations they find themselves in.
“I am the police, and I’m here to arrest you. You’ve broken the law.”
These situations might affect you in different ways, like the one involving two young children, which is particularly hard to watch. Director David Ayer has not shied away from the brutality of the surroundings the officers find themselves in, and uncomfortable scenarios are all part and parcel of this job. It’s not long before they start to ruffle a few feathers not just on the streets but within their own department. When they uncover a drug cartel which is a small piece of a very large jigsaw they are marked for death.
The film is also looked at from the view point of LA’s criminal underworld, where it seems everyone has a hand held camera and likes to film themselves. It seems a bit stupid really and maybe Ayer should have kept that side of the story to the conventional camera, it doesn’t work all that well if I’m honest. The relationship between Taylor and Zavala is probably the most believable of any on screen buddy cop partnerships, not since Lethal Weapon (the first film at least) has a pairing conveyed such emotion and chemistry. You’d almost believe that these two had been together for years.
Ayer has had plenty of experience in this field already, having written the scripts for S.W.A.T, Training Day and The Fast and the Furious, but those films only looked at cops from the outside. End of Watch goes in just that little bit further which helps to make it unique from all the rest.
It’s an indication that this cop film is not going to be as clear cut as any before it, and its no frills policy will surely shock most viewers as officers Taylor and Zavala (Michael Peña) tackle everything from the mundane to the murderous on their watch. We follow the pair during their daily routines which includes in the locker room, the briefing room as well as unique camera set ups from inside the patrol car and a hand held that Taylor carries along with him.
It’s incredibly well shot, and takes the conventional cop film and gives it a big slice of realism. It would give you the impression of what a real ride along might include, and the kinds of situations they find themselves in.
“I am the police, and I’m here to arrest you. You’ve broken the law.”
These situations might affect you in different ways, like the one involving two young children, which is particularly hard to watch. Director David Ayer has not shied away from the brutality of the surroundings the officers find themselves in, and uncomfortable scenarios are all part and parcel of this job. It’s not long before they start to ruffle a few feathers not just on the streets but within their own department. When they uncover a drug cartel which is a small piece of a very large jigsaw they are marked for death.
The film is also looked at from the view point of LA’s criminal underworld, where it seems everyone has a hand held camera and likes to film themselves. It seems a bit stupid really and maybe Ayer should have kept that side of the story to the conventional camera, it doesn’t work all that well if I’m honest. The relationship between Taylor and Zavala is probably the most believable of any on screen buddy cop partnerships, not since Lethal Weapon (the first film at least) has a pairing conveyed such emotion and chemistry. You’d almost believe that these two had been together for years.
Ayer has had plenty of experience in this field already, having written the scripts for S.W.A.T, Training Day and The Fast and the Furious, but those films only looked at cops from the outside. End of Watch goes in just that little bit further which helps to make it unique from all the rest.
JT (287 KP) rated Metro Manila (2013) in Movies
Mar 10, 2020
British directors getting behind the camera and undertaking foreign film seems to be paying off in multitude. Just take a look at what Gareth Evans did with The Raid and its sequel. He took his central character and put him through hell while at the same time painting a graphic picture of the film’s surroundings.
Sean Ellis does very similar with Oscar Ramirez (Jake Macapagal), a farmer looking for a better way of life for himself and his family. Their journey takes them from the quiet and panoramic rice fields of northern Philippines, where Oscar struggles to make ends meet, and moves them to the impoverished surroundings of Manila.
Entering the slums and criminal back streets Oscar learns the hard way that his friendly personality will be taken advantage of. With everyone desperate to survive he has to stand on his own two feet for the sake of himself and his family.
The film paints a desperate picture of a big city bathed in crime and poverty and desperate people will do desperate things, especially when they are pushed into a corner as Oscar explains to his friend Ong after taking a job as a security guard driving an armoured truck.
As Ong and Oscar become close Ong explains the job and then his ulterior motives. With the second half of the film playing out as a tense well organised heist, encompassing a twist that is shocking yet wholly satisfying. It can be hard to watch at times and it is emotionally sapping, particularly when Oscar’s wife Mai has to take matters into her own hands by getting a job working in a hostess bar in order to earn enough to feed her children.
The film screams out that having faith is a clear necessity when you’re down. All around them there are signs that God is with them willing them to succeed. Oscar’s story about how he lost his job in the silk mill is a running subplot that connects with the story on almost every level.
The scenes are well shot and Ellis captures the trauma and euphoria that the family experience at different times. One cross over scene sees Mai being degraded while at the same time Oscar drinks with his new buddies, only to break down in the toilet in tears.
It’s a slow churning thriller that is expertly pieced together, building strong characters and story all the way through to the pulsating climax.
Sean Ellis does very similar with Oscar Ramirez (Jake Macapagal), a farmer looking for a better way of life for himself and his family. Their journey takes them from the quiet and panoramic rice fields of northern Philippines, where Oscar struggles to make ends meet, and moves them to the impoverished surroundings of Manila.
Entering the slums and criminal back streets Oscar learns the hard way that his friendly personality will be taken advantage of. With everyone desperate to survive he has to stand on his own two feet for the sake of himself and his family.
The film paints a desperate picture of a big city bathed in crime and poverty and desperate people will do desperate things, especially when they are pushed into a corner as Oscar explains to his friend Ong after taking a job as a security guard driving an armoured truck.
As Ong and Oscar become close Ong explains the job and then his ulterior motives. With the second half of the film playing out as a tense well organised heist, encompassing a twist that is shocking yet wholly satisfying. It can be hard to watch at times and it is emotionally sapping, particularly when Oscar’s wife Mai has to take matters into her own hands by getting a job working in a hostess bar in order to earn enough to feed her children.
The film screams out that having faith is a clear necessity when you’re down. All around them there are signs that God is with them willing them to succeed. Oscar’s story about how he lost his job in the silk mill is a running subplot that connects with the story on almost every level.
The scenes are well shot and Ellis captures the trauma and euphoria that the family experience at different times. One cross over scene sees Mai being degraded while at the same time Oscar drinks with his new buddies, only to break down in the toilet in tears.
It’s a slow churning thriller that is expertly pieced together, building strong characters and story all the way through to the pulsating climax.
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Ross (3284 KP) rated The Shadow Man in Books
Feb 19, 2021 (Updated Feb 19, 2021)
Good thriller, but not a patch on Fields' other books
This standalone (as far as I know) book sits beside Fields' Luc Callanach (Ava Turner) series, again set in Edinburgh. Other than the brash Chief Superintendent Overbeck, none of those characters are introduced here. Instead, because of the workload of Edinburgh's Major Incident Team, DI Baarda has been called in from London to assist in a murder/kidnapping. Along with him is Dr Connie Woodwine, a brash American criminal psychologist. They are looking into the disappearance of one woman, and quickly link it to the death of another and find that they are on the hunt for someone with issues.
Connie is a fairly stereotypical academic, clinical type as she has virtually no people skills on the surface, issuing demands and attacking conversations head-on in a very un-British way. And yet when we see her interviewing witnesses, such as a young girl who saw a schoolmate be abducted, she is suddenly very tactful and sensitive. In this way, she is both an interesting, complex character, but also a much seen cliched one. She has a tendency to do an awful lot of telling during interviews, explaining to all in the room the theory of her approach to the interview. While this was interesting, it took me right out of the book as something completely unnatural, and read more as a brain dump of the author's research for the book. A little more show, less tell as usual would have worked well here.
Baarda is similarly familiar, a dedicated career cop with marital problems (his wife having an open affair with another officer).
Together, the pair piece together few clues and start to evolve something of a profile for the man who has been kidnapping people. However, I felt this aspect didn't yield results until quite late on, all progress up to that point (next to none) was through standard police work/luck.
The antagonist here was interesting, but nowhere near as dark and mysterious as the blurb makes him sound. We're not talking Hannibal Lecter here, just a confused man with a fairly typical upbringing. Fields essentially cottoned on to an interesting medical/psychological condition and pieced together a plot based on it. While this was enjoyable, it made it somewhat crime-by-numbers.
A good book, but left me longing for Ava Turner's more likable policing style.
Advance reading copy received from the publishers and netgalley in exchange for an honest review.
Connie is a fairly stereotypical academic, clinical type as she has virtually no people skills on the surface, issuing demands and attacking conversations head-on in a very un-British way. And yet when we see her interviewing witnesses, such as a young girl who saw a schoolmate be abducted, she is suddenly very tactful and sensitive. In this way, she is both an interesting, complex character, but also a much seen cliched one. She has a tendency to do an awful lot of telling during interviews, explaining to all in the room the theory of her approach to the interview. While this was interesting, it took me right out of the book as something completely unnatural, and read more as a brain dump of the author's research for the book. A little more show, less tell as usual would have worked well here.
Baarda is similarly familiar, a dedicated career cop with marital problems (his wife having an open affair with another officer).
Together, the pair piece together few clues and start to evolve something of a profile for the man who has been kidnapping people. However, I felt this aspect didn't yield results until quite late on, all progress up to that point (next to none) was through standard police work/luck.
The antagonist here was interesting, but nowhere near as dark and mysterious as the blurb makes him sound. We're not talking Hannibal Lecter here, just a confused man with a fairly typical upbringing. Fields essentially cottoned on to an interesting medical/psychological condition and pieced together a plot based on it. While this was enjoyable, it made it somewhat crime-by-numbers.
A good book, but left me longing for Ava Turner's more likable policing style.
Advance reading copy received from the publishers and netgalley in exchange for an honest review.