End of Watch - Wikipedia. Watch One In The Chamber Online (2017) there. End of Watch is a 2.

American crimedrama film written and directed by David Ayer. It stars Jake Gyllenhaal and Michael Peña as Brian Taylor and Miguel Zavala, two Los Angeles Police Department officers who work in South Los Angeles. The film focuses on their day- to- day police work, their dealings with a certain group of gang members, their friendship with each other, and their personal relationships. Ayer, who had written several police procedural films previously, wanted the film to focus more on the friendship between partners and honest police work rather than corruption.

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Gyllenhaal, Peña, and other cast members underwent an intensive training program to prepare for their roles as police officers. Filming took place in Los Angeles in August 2. The film premiered on September 8, 2. Toronto International Film Festival and was released in American theaters on September 2. The film was well received by critics and received a number of accolades, including two Independent Spirit Award nominations.

Brian Taylor and Miguel Zavala are close friends and partners in the Newton Division of the Los Angeles Police Department (LAPD) in South Central Los Angeles. Taylor, a former US Marine, is recording their police activities for a film project. Upon responding to a public disturbance call, Tre, a Bloods gang member, yells racial insults at Zavala, who responds by accepting a one- on- one fist fight. Zavala beats and arrests him, but wins Tre's respect for not charging him with assault. Later that night, Tre and his fellow Bloods gang members are attacked by a group of Sureños in a drive- by shooting and one of Tre's friends is killed. The next day, the officers respond to a noise complaint at a house party full of Sureños, where Taylor encounters a gang member named Big Evil, whose truck he later finds is filled with ornately decorated firearms and a large amount of money. Taylor and Zavala are awarded the Medal of Valor after rescuing three children from a house fire.

Upon further investigating a house, they arrest a man who is also in possession of several ornate firearms, and is guarding a cell full of human trafficking victims. When ICE agents arrive, one agent informs the officers that the house is tied to the Sinaloa Cartel, and strongly urges them to "lay low" due to possible reprisals. Around this time, Taylor begins dating a woman named Janet, and Zavala's wife Gabby gives birth to their first child. One night, Taylor and Zavala respond to a call from their fellow officer, Sook, and find her partner Van Hauser with a knife through his eye. Watch The Dangerous Lives Of Altar Boys Online Facebook. He leads them to Sook, who is being savagely beaten nearby.

After arresting the culprit, the officers learn that Van Hauser is not returning to patrol and Sook is leaving the force. Taylor marries Janet, and at their wedding Zavala tells Taylor that, should anything happen to him, he will take care of Janet.

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The next day, the officers perform a welfare check on an elderly woman. In her house, they discover drugs, dismembered corpses, and a message from the cartel. Unbeknownst to them, a cartel member has "green- lit" the officers, and the gangsters from the earlier drive- by begin following them. On patrol the officers encounter Tre who, out of respect for Zavala, warns them that the cartels plan to have them killed, but Taylor and Zavala just shrug it off.

Shortly after Janet gets pregnant, the officers are baited into chasing a reckless driver into an apartment complex, where they are ambushed by the same group of Latino gang members. They fight their way into an alley, where Taylor is shot in the chest. As Zavala desperately attends to his partner, the assassins arrive and shoot him several times in the back, killing him. Police backup eventually arrives and the gangsters are brutally slain after refusing to surrender.

Taylor survives, having been shielded by Zavala's body. At Zavala's funeral, Taylor tries to deliver a eulogy, but only manages to say a few words: "He was my brother." In a flashback to the day of the shooting, Zavala recounts to Taylor a story from his teens before the two receive the call from dispatch. Production[edit]Jake Gyllenhaal (left) and Michael Peña (right) undertook five months of intensive training to prepare for their roles in the film.

David Ayer, who wrote and directed End of Watch, grew up in South Central Los Angeles and has had numerous friends in the LAPD.[4][5] He had written several films previously about police officers in Los Angeles, but while these depicted rogue and corrupt officers, he wanted to feature honest, ethical police work in End of Watch.[5] In contrast to his previous works, Ayer wanted to focus on the friendship between Taylor and Zavala and "have all the cop stuff drop away and become secondary to the chemistry of these guys".[6] Ayer wrote the screenplay over six days in December 2. Jaime Fitz. Simons, a longtime friend of Ayer and a former police officer with the LAPD, served as the film's technical advisor, and his experiences from working in Los Angeles inspired several plot points of the film.[4][8][9]: 6. Carriers Full Movie Part 1. Jake Gyllenhaal was the first to be cast in the film; after receiving the script, he read it in an hour and immediately contacted Ayer.[5][7]Michael Peña was cast shortly after, following a string of auditions.[5] He and Gyllenhaal did not bond immediately but gradually became close friends over the process of training and filming.[5] Gyllenhaal and Peña undertook five months of intensive training under the guidance of Fitz.

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Simons to prepare for their roles—this included 1. Greater Los Angeles Area law enforcement agencies up to three times a week, as well as training in hand- to- hand combat, police tactics and weapons.[5][1. On his first ride- along, Gyllenhaal witnessed a murder during a drug bust.[1. Tactical training was also given to the other actors playing police officers, including David Harbour, America Ferrera, Cody Horn, and Frank Grillo.[9]: 1. End of Watch was filmed on location in South Central Los Angeles, primarily in the area of the LAPD's Newton Division, one of the most violent and gang- affiliated areas of the city.[9]: 1. Filming took place over 2.

August 2. 01. 1, with a budget of $7. The film was shot in a combination of found footage style and traditional photography.[1. Most scenes were captured by four cameras simultaneously: [9]: 6 these included a handheld camera operated by Gyllenhaal, cameras clipped to Gyllenhaal and Peña's vests, and dashboard footage from their patrol car.[5][8] Some scenes were shot entirely by Gyllenhaal.[1. An alternate ending of the film was shot where both of the main characters died, but Ayer ultimately chose to retain the original ending.[1. Release[edit]The world premiere of End of Watch was held on September 8, 2. Toronto International Film Festival.[1. It was originally scheduled to be released theatrically on September 2.

September 2. 1.[1. Home media[edit]End of Watch was released on DVD and Blu- ray on January 2. Universal Studios Home Entertainment. Reception[edit]Box office[edit]End of Watch grossed $4. North America and $1. In its opening weekend in the United States, the film grossed $1.

It was especially popular among Hispanics, who made up 3. The Hollywood Reporter attributed the film's popularity to strong word of mouth.[1. The film was initially released in 2,7.

On December 7, the film was given a nationwide re- release in 1,2. Independent Spirit Award nominations.[1.

On the first weekend of its re- release, it grossed $7. Critical response[edit]End of Watch received positive reviews from critics, who praised Ayer's direction and the performances of Gyllenhaal and Peña. The review aggregator website Rotten Tomatoes reported an 8. The website's consensus states: "End of Watch has the energy, devotion to characters, and charismatic performances to overcome the familiar pitfalls of its genre and handheld format."[2.

At Metacritic, the film received a score of 6.

God’s Own Country’ Review: A British ‘Brokeback Mountain,’ But Better. A rugged young Englishman and a gentle Romanian migrant worker find intimacy atop the lonesome hills of Northern Yorkshire in “God’s Own Country,” Francis Lee’s quietly remarkable debut feature.

Embittered by his isolated existence, Johnny (Josh O’Connor) softens upon meeting Gheorghe (Alec Secareanu), who has much to teach him, and not just how to delicately breathe life into a newborn lamb. Such explicit scenes of daily farm life give the film documentary- like potency, elevating it far beyond conventional romantic drama. The sole able- bodied man of the family after his father, Martin (Ian Hart), has a stroke, Johnny Saxby spends his days mucking stalls, pissing on walls, and ducking into cattle trailers for the occasional kiss- free grunting session, a glob of spit rolling down a lily- white bottom. When one such escapade delays his return, Johnny’s beloved cow has delivered a stillborn calf. A disapproving Martin hands him a rifle, and he shoots the calf in the head, the first of many shots depicting the brutality of life up here in “God’s Own Country.” When Johnny lives for himself, however briefly, things die. READ MORE: ‘Call Me By Your Name’ Review: Luca Guadagnino Delivers A Queer Masterpiece — Sundance 2. When Gheorghe arrives to help with lambing season, bearded and tender- faced, Johnny is initially standoffish as he shows him the weathered RV where he will be sleeping. Lee throws down the gauntlet yet again as the camera, with the laser- beam focus of a nosy child, fixes on Gheorghe’s steady hands as they pull a bloody lamb — afterbirth and all — from the flanks of its bleating mother.

Gheorghe performs this feat more than once, the second requiring rigorous rubbing and mouth- to- mouth before the tiny creature springs to life. He’s just going to be a runt,” says Johnny, looking on coldly. But Gheorghe has a way with runts, and his pretty brown eyes bore steadily into Johnny’s as they flicker hungrily over his body. In the most obvious “Brokeback” similarity, they retreat to a high paddock for a few days, cutting their hands on a stone wall by day and sharing a straw mattress in a drafty shed by night.

A sincere fight quickly turns to mud wrestling, which turns to another hurried grunting session. It isn’t long before Gheorghe introduces Johnny to the pleasures of intimacy, his life- giving hands caressing Johnny’s face and pulling him in for a kiss. Alec Secareanu and Josh O’Connor star in “God’s Own Country,” by Francis Leegay god's own country francis lee british. But if the foggy grays and muted green hills so elegantly captured by cinematographer Joshua James Richards are any indication, all good things must come to an end.

After the boys return from their hillside escape, Martin has another stroke, and Johnny is confronted with the full weight of his burden. Johnny alone must keep the farm afloat, supporting Martin and his mother, Deidre (the excellent Gemma Jones). Lee underscores Johnny’s isolation by confining most of the action to the farm and its daily routines. Occasional detours to the local pub, run- ins with an old friend, and even the passing of a plane overhead, hint at an outside world in stark contrast to Johnny’s solitary existence. Music is largely absent, save for one brief moment of repose when Gheorghe implores Johnny to admire the view: “It’s beautiful here, but lonely, no?”READ MORE: The 2. Indie. Wire Sundance Bible: Every Review, Interview, And News Story From The Fest. Nature rules in “God’s Own Country,” human and other kinds.

Lee supplements the more shocking images, like Johnny’s gloved arm plunging into a protesting cow’s backside, with the small beauties of butterflies and beetles. What could have tread familiar ground instead knits a verité pastiche out of the rigors of farm life, artfully binding Johnny’s quiet drama with the drama of the landscape that entraps him. Comparisons to Ang Lee’s film are inevitable (the two directors even share a last name), but “God’s Own Country” thankfully lacks its “I can’t quit you” moment. Some parts are so referential they seem to dare one to draw comparisons; like the aforementioned spit- as- lube (don’t try that at home), or Johnny cradling Gheorghe’s sweater. While the commercial success of “Brokeback” was a milestone for gay films, many gay viewers took issue with the fate of its star- crossed lovers. Without giving too much away, “God’s Own Country” mostly avoids such pitfalls.

The only tonal misfire is a recurring joke where Johnny and Gheorghe call each other “freak” and “faggot” lovingly, at least somewhat. While this vocal self- loathing fits the characters, its place of honor in the film’s denouement is distracting. On the other hand, as one British native pointed out, even Johnny’s repressed- but- sexually- active gayness is quite rare for Yorkshire. Progress, as Americans now know all too bitterly, moves slowly. Sexual liberation has not spread into the rural sheep farms of Northern Yorkshire. There will be many people who see themselves in the furtive glances and mud- covered kisses from which “God’s Own Country” weaves its harsh but hopeful narrative, and they will do so while witnessing a finely crafted piece of cinema. Grade: A- “God’s Own Country” premiered in World Dramatic Competition at the Sundance Film Festival 2.

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