The buddy cop genre—a veritable pillar in the annals of Hollywood cinema— is like a delightful cocktail of humor, action, and bromance, serving up thrilling stories that remind us how the unlikeliest of duos can form the most heartwarming connections. Often, these stories focus on two law enforcement officials who are polar opposites, forced to work together in an uncomfortable collaboration only to form an unexpected bond.  181p17

It all started in 1982 with the breakthrough film 48 Hrs., which paired a tough cop with a wisecracking crook. This unusual pairing set the tone for several films to come, with their glaring differences resulting in intriguing on-screen chemistry and bright, comic dialogue. Soon after, the 1987 release of Lethal Weapon cemented the genre’s popularity, showcasing a successful blend of action, comedy, and drama that gave both an emotional effect and an engaging viewing experience. Since then, the buddy cop movie has come a long way, with many classic examples to choose from. 

The success of buddy cop movies usually hinges on the dynamic between the two main characters. Furthermore, these films frequently represent the spirit of inclusivity and togetherness, proving that people from all origins can transcend their differences and work together to achieve a common objective. So, without further ado, here are the ten best buddy cop movies of all time, each with a perfect blend of action, comedy, and on-screen companionship.

10. End of Watch (2012) 434r4f

The action thriller End of Watch, written and directed by David Ayer, who is known for his realistic depictions of police officers, follows the formula of the buddy cop genre by having two LAPD officers work together. Still, instead of the usual comedy, it provides a gritty and fascinating look into their life on the job. The film follows officers Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pea). It is told in a found-footage style, with material from the officers’ body cameras, handheld cameras, and other surveillance footage driving the narrative. 

This novel approach gives the film a sense of immediacy and authenticity, letting the audience feel as though they are riding along with the protagonists. The relationship between Taylor and Zavala is essential to End of Watch. As they face challenges in their personal lives and the line of duty together, they form a close friendship that transcends their professional relationship. 

9. The Other Guys (2010) 576o4i

The Other Guys, directed by Adam McKay, who previously worked with Will Ferrell on Anchorman and Step Brothers, is the duo’s take on the buddy cop genre, and the result is a picture that serves as both a parody of and homage to the best examples of the genre. Detective Allen Gamble, played by Will Ferrell, is a mild-mannered forensic ant who is more at home in the office than in the field. Terry Hoitz (Mark Wahlberg) is his recalcitrant partner, a fierce and fiery detective forced to desk duty after an embarrassing event. 

When Gamble discovers a questionable permit connected to a wealthy investor, he and his partner find themselves in a high-stakes financial plot. The Other Guys does a fantastic job of parodying many of the conventions of the buddy cop genre. The film’s humor comes primarily from its clever subversion of expectations, whether poking fun at the reckless actions of “hero” officers (embodied by Samuel L. Jackson and Dwayne Johnson in cameo parts) or the genre’s clichéd one-liners. 

8. Hot Fuzz (2007) 4e532u

Hot Fuzz, directed by Edgar Wright and written by Wright and Simon Pegg, is a British action comedy that follows Shaun of the Dead (2004) and comes before The World’s End (2013) as part of Wright, Pegg, and Nick Frost’s Three Flavours Cornetto trilogy. An excellent parody of the buddy cop genre and Hollywood action movies, Hot Fuzz is hilarious. The film follows London police officer Nicholas Angel (Simon Pegg), who excels so much at his work that he brings down the reputations of his fellow officers. 

Therefore, he has moved to the remote English community of Sandford, known for its peace and (apparent) lack of apparent crime. Danny Butterman (Nick Frost), the earnest but clumsy son of the town’s police chief, is his partner there. As the movie unfolds, Angel’s meticulousness reveals a series of strange events hinting at a darker presence in the otherwise picturesque town. The film’s finale is a marvelous parody of the over-the-top action sequences typical of Hollywood blockbusters, brilliantly blending aspects of action, horror, and comedy. The unique brand of British humor in Hot Fuzz and the witty interplay between Pegg and Frost make it a smash hit.

7. Kiss the Girls (1997) 6ae2h

Gary Fleder helmed the American thriller Kiss the Girls, which delves into the realm of the mind. The film is based on James Patterson’s eponymous best-selling novel. Although it isn’t a funny buddy cop film in the typical sense, it does depict the intense relationship of two detectives working together to find a serial kidnapper and killer. Morgan Freeman plays Alex Cross, a forensic detectiveand psychologist, and Ashley Judd plays Kate McTiernan, a detective and kickboxing instructor. 

The story develops as Cross becomes involved in the case after his niece becomes a victim of the serial kidnapper. After McTiernan narrowly escapes the kidnapper’s hideout, she s Cross to unravel the mystery and catch the perpetrator. One unique aspect of Kiss the Girls is its twist on the buddy cop genre; while the essential element of cooperation between law enforcement officials is there, the film departs from the norm by delving into a serious and deep plot. The film’s emphasis on the psychological challenges of locating a serial killer creates an atmosphere of constant suspense. 

6. The Nice Guys (2016) k4e5l

The 2016 action comedy The Nice Guys was written and directed by Shane Black, who also contributed to the buddy cop genre with his work on Lethal Weapon. Ryan Gosling and Russell Crowe, the film’s leads, bring their unique acting skills to the table and make a dynamic duo. The 1970s Los Angeles setting of the film helps set it apart from other buddy cop films with its blend of neo-noir intrigue and comedy. 

Gosling plays private investigator Holland March, and Crowe plays hired enforcer Jackson Healy, who have to work together to solve the mystery of the apparent suicide of a fading pornstar. But as they dig deeper, they find evidence of a plot involving people at the top of the government. Gosling plays a fumbling, often inebriated investigator, displaying his incredible comedic timing. Crowe brings a world-weary charm to the stern and physically imposing Healy. The surprising connection between the two leads results in several amusing and touching scenes. 

5. Men in Black (1997) 243u2r

Based on the comic book series by Lowell Cunningham, Men in Black, directed by Barry Sonnenfeld, is an innovative and enjoyable take on the buddy cop genre that also incorporates a science fiction theme. Agents K and J of The Men in Black, played by Tommy Lee Jones and Will Smith, respectively, are the film’s focus. While keeping the public in the dark about aliens’ presence on Earth, the agency aims to govern and oversee alien activity here. 

Agent K is a stickler for the rules and has a dry sense of humor, whereas Agent J is a charismatic ex-NYPD detective. Their chemistry is reminiscent of the familiar “buddy cop” pairing of an experienced officer and an inexperienced recruit. Still, the added challenge of alien encounters gives the film a unique and exciting twist. Legendary monster make-up artist Rick Baker gives the aliens a funny, hideous look that contributes to the film’s overall appeal. 

4. Lethal Weapon (1987) z5bd

A compilation of buddy police movies would be lacking without Lethal Weapon. This 1987 action classic, directed by Richard Donner and written by Shane Black, catapulted the buddy cop genre into the mainstream and has since become a classic, revered by both audiences and critics alike. Mel Gibson and Danny Glover star as LAPD detectives Martin Riggs and Roger Murtaugh, respectively, in this movie. Gibson’s character, Riggs, is a former Special Forces soldier grieving the loss of his wife. His behavior is erratic and dangerous, and his coworkers call him a “lethal weapon.” Glover’s character, Murtaugh, on the other hand, is an older family man who is only seven days away from retirement when the film begins. 

Riggs, the suicidal wild cannon, and Murtaugh, the careful, by-the-book veteran, make for an enjoyable, entertaining, and occasionally stressful on-screen friendship. After a young woman is murdered, Riggs and Murtaugh investigate the case, which takes them into the murky underworld of drug trafficking and former military mercenaries. Throughout the inquiry, they become closer and learn to work together, creating a personal connection that humanizes their characters beyond their positions as police detectives. 

3. Bad Boys (1995) 653866

Bad Boys is an action comedy directed by Michael Bay, and his debut feature film. The film stars Will Smith and Martin Lawrence and signaled the start of the famous Bad Boys franchise. It became a quintessential example of the buddy cop genre in the mid-’90s. The story follows Will Smith’s Mike Lowrey and Martin Lawrence’s Marcus Burnett, two detectives working in Miami. The dynamic connection and humorous banter between Burnett, a family guy living a modest lifestyle, and Lowrey, a well-dressed, smooth-talking ladies’ man from a wealthy background, is a result of their strikingly different personalities. 

In a high-stakes operation, the two are sent into the dangerous world of a vicious French drug lord to recover a stash of stolen cocaine. The comedy and high-octane action in Bad Boys is thrilling. The film is typical of Michael Bay, with car chases, gunfights, and explosions. However, the film’s success rests on the connection between Smith and Lawrence. Their chemistry and comic timing provide some of the film’s most memorable exchanges. 

2. Rush Hour (1998) h2l3q

Filmmaker Brett Ratner and screenwriters Jim Kouf and Ross LaManna brought Rush Hour to theaters in 1998. It was a standout among buddy cop movies thanks to the clever way it merged American and Chinese filmmaking styles. As Chief Inspector Lee, Jackie Chan, known for his martial arts prowess and willingness to do his own stunts, adds a fascinating depth to the action scenes. Chan’s action-oriented persona is nicely balanced by Chris Tucker’s Detective James Carter, whose rapid-fire humorous delivery makes for a riveting and enjoyable blend of comedy and action.

Filmed in both Hong Kong and Los Angeles, Rush Hour follows Lee and Carter as they work together to find the Chinese Consul’s kidnapped daughter. The film’s humor stems from the contrast between Lee’s discipline and dedication and Carter’s sarcasm and tendency to break the rules. Lee and Carter are two very different people, yet they learn to respect and appreciate one another by the film’s end. Their chemistry makes Rush Hour stand out as more than just a standard action flick.

1. 48 Hrs. (1982) 751z

The classic action comedy 48 Hrs., starring the dynamic duo of Nick Nolte and Eddie Murphy and masterfully directed by Walter Hill, is the pioneer of the buddy cop genre. It’s like the OG that paved the way for all the hilarious and action-packed cop movies we enjoy today. The plot revolves around hard-boiled investigator Jack Cates (Nick Nolte) of the San Francisco Police Department, who is compelled to work with cocky ex-con Reggie Hammond (Eddie Murphy) to solve a pair of cop murders. 

One of the most exciting aspects of 48 Hrs. is the relationship between Cates and Hammond. Cates is a rough-and-tumble police officer, while Hammond is a smooth and slick criminal. Their adversarial relationship evolves into mutual respect as they work together to solve the crimes, giving the movie both dramatic weight and humorous touches. Eddie Murphy’s performance is one of the film’s high points. Despite being his first feature picture, Murphy steals the show with his superb comedic timing and charismatic presence. 

Sicario was released to critical acclaim in 2015, but the film’s reputation has gotten even stronger with time. It’s a scintillating crime drama that manages to serve up political commentary, masterful direction, and career-best performances without losing sight of the entertainment factor. It’s both existential and enjoyable, which is a challenge to achieve in any genre.

Since director Denis Villeneve and screenwriter Taylor Sheridan have gone off to do science fiction (Dune) and television (Yellowstone), respectively, we thought it’d be helpful to compile a list of titles that share DNA with Sicario. While no one film is identical (even the sequel, which we will discuss), there are plenty of crime dramas that flirt with the same ideas, and explore American corruption from a similarly thoughtful perspective.

Sicario: Day of the Soldado (2018) 1z5k

We had to kick things off with the sequel. Sicario: Day of the Soldado had a lot going for it on paper: Josh Brolin and Benicio del Toro were reprising their mysterious CIA characters, and Sheridan was back as screenwriter. All three were crucial to the success of the original, so it stood to reason they would provide more drug war intrigue. And, well, they do. 

Day of the Soldado is a clear step down from Sicario in of thematic heft, but it’s a fine thriller that features particularly stellar work from del Toro. The Oscar-winner takes center stage, and his chemistry with Isabel (Isabela Moner), the daughter of a drug kingpin, allows him to dig into the humanity teased in Sicario. 

Eastern Promises (2007) 3c6r57

Eastern Promises takes place in London, far removed from the events of Sicario. The film is similar, however, in the way it exposes the viewer to a criminal underworld they were previously unaware of. A midwife (Naomi Watts) tries to find the mother of an abandoned baby and stumbles into the inner-circle of the Russian mafia. A professional “cleaner” (Viggo Mortensen), bringing the same unpredictable energy that del Toro’s character does in Sicario, takes it upon himself to help her out. 

Eastern Promises benefits from the layered performances of its two leads, but the real highlight here is David Cronenberg’s direction. He gives each character such specificity, and each setting such a worn-down, tactile quality that one can’t help but follow the midwife character down the rabbit hole.

Traffic (2000) 124254

Traffic, the crime epic from director Steven Soderbergh, is considered by many to be the precursor to Sicario. The two have a lot in common, including a focus on the Mexico/U.S. drug trade and a corrupt “lawman” with a criminal agenda of his own. In both instances, the “lawman” is played by Benicio del Toro. The similarities end there, however, as Soderbergh takes a more sprawling, novelistic approach to the material. 

Sicario stays with Emily Blunt’s FBI agent for most of its runtime, whereas Traffic delves into the lives of the dealers, politicians, and s who are impacted by the drug trade. The latter has an eye-watering number of A-listers for every story, including Michael Douglas, Catherine Zeta-Jones, Dennis Quaid and Don Cheadle. It wound up taking home four Oscars including Best Screenplay for Soderbergh and Best ing Actor for del Toro, and upon revisiting, we can’t really argue with either.

The Mule (2018) 371u2f

Clint Eastwood has been making films for longer than most of us have been alive, and The Mule is a perfect example of the genre he does best: meat-and-potatoes crime dramas. Nothing fancy, no directorial flourishes or twist endings needed, and it’s based on the true story of Earl Stone, a 90-year old man who becomes a drug courier to keep his house from being foreclosed on.

The premise is so outlandish that Eastwood knows to underplay the rest. He brings his typically grumpy charm to the titular role, but the Earl character really comes alive when he’s forced to hide the truth from his estranged wife (Dianne Wiest) and the DEA agent (Bradley Cooper) who takes a sudden interest in his finances. The rest of the cast is filled with hall of fame character actors like Andy Garcia, Laurence Fishburne, and Michael Pena. How can you really go wrong?

Zero Dark Thirty (2012) 3j546e

Sicario delves into the risks that a female government agent takes when dropped into a foreign setting. Zero Dark Thirty is nearly identical in this sense, as the film transports Jessica Chastain’s CIA operative to the Middle East to take down Osama Bin Laden. Corruption runs rampant in both, but the distinction between the two protagonists is crucial. Sicario’s FBI agent tries and fails within the rules, whereas Zero Dark Thirty’s operative is willing to do whatever it takes to capture her target.

Brilliantly directed by Kathryn Bigelow, who not only conveys the internal strain that her protagonist is under, but the external discomfort of watching Americans use torture methods to get information (something we also see in Sicario). It was nominated for five Oscars including Best Picture and Best Actress, and we can’t help but feel like this was the performance Chastain should have won for… 

Hell or High Water (2016) 2d3c3r

Sheridan was a hot screenwriter after Sicario, and he pushed his exploration of American greed even further with his sophomore effort, Hell or High Water. The film follows duos on opposing sides of the law: estranged brothers (Chris Pine and Ben Foster) on a bank-robbing spree, and Texas Rangers (Jeff Bridges and Gil Birmingham) who have been tasked with bringing them down. Both sides are forced to do things against their better judgment, resulting in tragedy.

Dealing less with the men who promote corruption and more on the consequences of a system that is inherently corrupt, the brothers see their crimes as a kind of frontier justice, and the closer the Rangers get to finding them, the more they come to empathize with their motives. The last scene is one of the finest things Sheridan has ever written, and his Oscar nomination for Best Original Screenplay was well-deserved.

No Country for Old Men (2007) 1s256x

Sicario is a bleak affair. The protagonist loses everything, and worse still, she plays a part in her own downfall. It’s a character arc more aligned with classic noir than modern dramas, which is why fans will also take to Joel and Ethan Coen’s masterpiece No Country for Old Men. The film, adapted from the Cormac McCarthy novel of the same name, details the ways in which blood money dooms four desperate men.

While star-studded, No Country for Old Men draws power from its overriding sense of isolation. The characters that Josh Brolin, Tommy Lee Jones and Javier Bardem play are loners, doomed to live out their days in isolation, or at least the days they have left. It could have easily been overwrought, but the directors have such a command of the source material and their own sense of morality that every single frame rings true.

End of Watch (2012) 374h2r

David Ayer and Taylor Sheridan are both screenwriters who made the leap to directing, but the latter is more interested in the viscera of crime than the emotion. End of Watch doesn’t provide the cultural commentary that something like Sicario does, but it doesn’t try to, either. It’s a feature-length version of Sicario’s opening scene, which is another way of saying it’s tense from start to finish. 

Michael Pena and Jake Gyllenhaal play LAPD officers who work the South Central area. They regularly encounter drug deals and gang-related shootings, and their tenacity on the streets leads to them becoming targets. The actors have ridiculous chemistry, alternating between funny and frightening at the drop of a dime, and Ayer proves that he can really deliver the goods as a director when he’s allowed to keep things stripped-down.

Man on Fire (2004) 534z4m

Sicario takes place in Mexico, and goes to great lengths to illustrate the brutality of the Juarez drug cartels. Man on Fire (2004) is also set in Mexico, though it shifts the focus to the kidnappings that regularly take place in the capital. Denzel Washington is an ex-CIA agent who gets hired to protect the child of a wealthy family, but when things go awry, and the child is taken, Washington’s character goes on the warpath.

Man on Fire is the finest collaboration between Washington and director Tony Scott, and that’s saying a lot given the quality of their other films. The two work in perfect unison here, with the former channeling his dark side and the latter dialing up the cross-cutting and stylized violence to eleven. It might be too much for some, but for those who embrace the madness, it’s brilliant.

Wind River (2017) 453m46

Taylor Sheridan considers Sicario, Hell or High Water and Wind River to be a trilogy about the Midwest, and the struggles that various Midwestern communities have to contend with. It’s only right that all three films be included on the list. Wind River, Sheridan’s third outing as a writer and first as director, has the same premise as Sicario: a female FBI agent is assigned to a crime in a downtrodden community. This time, the agent is played by Elizabeth Olsen, and the community is the Wind River Indian Reservation in Wyoming.

Wind River is a simpler tale, both in of performance and narrative, but Sheridan carries over his obsession with outlaw justice. Olsen and Jeremy Renner give searing performances, and the climactic shootout is one of the bleakest, most unromantic depictions of violence in recent memory. Not the easiest watch, but it’s not meant to be.

David Ayer may have eventually segued into blockbuster territory with the DCEU’s Suicide Squad and Netflix’s first big budget original blockbuster Bright, but they still retained plenty of the hallmarks that have defined his entire career.

The filmmaker built his reputation crafting stories revolving around unscrupulous officials, dogged cops, and determined criminals, ranging from his breakout screenplay for Training Day to directorial efforts including Harsh Times, Street Kings, Sabotage, and The Tax Collector.

Based entirely on its Rotten Tomatoes score, End of Watch is his best movie, garnering an impressive 85% score on the aggregation site. Jake Gyllenhaal and Michael Peña star as longtime best friends and LAPD partners who run afoul of a drug cartel, with the strong reviews being matched by a $57 million haul at the box office on a $15 million budget.

As per Deadline, Ayer is now co-writing and executive producing a small screen adaptation of the concept, which has already been given a script-to-series commitment by Fox. The premise is roughly the same, with the story set to follow a pair of relatively inexperienced officers getting caught up in circumstances that eventually spiral out of control, but we’ll be curious to see if the episodic End of Watch can put a fresh spin on the over-saturated TV procedural formal.

Training Day writer David Ayer returns behind the lens to direct the gritty cop drama End of Watch, shot mostly via handheld cameras, allowing the film’s realism to excel even more between the two fantastic leads, played with pride and honor by Jake Gyllenhaal and Michael Pena. Although some of End of Watch suffers from typical Ayer gang stereotypes, a good portion of the film works as an exemplary piece of police cinema. Brian (Jake Gyllenhaal) and Mike (Michael Pena) are brothers of the badge. They’re two LA cops that define the true blue mentality, often letting their own cowboy heroics get them into trouble. They don’t care though, as long as the law is enforced and as long as they’re the top dogs doing it. It’s about the law and what’s fair and to them what they do every single day makes the world a better place and they sleep better at night knowing that. The concrete jungle is no place for two good-doing cops though and soon they realize that they’ve just been smacked directly in the center of a local gang war, which results in death and bloodshed on all parts. Brian and Mike quickly become the two most-wanted cops on the streets. Training Day writer and Street Kings/Harsh Times director David Ayer approaches End of Watch almost exactly like he approaches the other cop dramas that he’s been involved with. He’s mostly interested in telling a darker and grittier tale, only this time he chooses to focus on two good cops, opposed to the usual crooked ones that he fascinates himself with. He also ditches (for the most part) traditional camerawork in place of handheld cameras to give the film a documentary feel. This works in doses, primarily in the beginning and during most of the action. Scenes are escalated to pure intensity as Brian and Mike shoot their way out of darkly-lit alleyways, with almost no time to check their blind spots or catch a breath. Ayer uses the up-close and fast-paced camera work to his advantage during these moments, because End of Watch at times feels like an airtight adrenaline rush, with thrills around every corner. You never can quite expect what’s to come next and for that I credit Ayer’s choice to shoot on the fly and without caution. But then the rest of the film comes weighing down. For starters, the film will randomly switch between planted cameras to traditional ones that are invisible to the actors on the screen. It’s a head scratching move, because it essentially pulls you out of the scene and makes you question the purpose of the “real” cameras opposed to the “fake” ones. Ayer would have been much better off if he chose one or the other and stuck with it. Switching back and forth confuses the presentation and muffles the execution. Some of the film’s characters also go a little overboard. Ayer is known for working on gang-related cop dramas, yet every single gang member feels like a walking stereotype. The only lines most of the actors portraying tough guys ever get out are loaded full of cursing and thick (and barely able) accents. The film tries oh so very hard to get you to believe that these people are indeed the real thing, but it comes off a little too forceful and really only lop-sides the emotions. Ayer’s saving grace is the bond formed between actors Jake Gyllenhaal and Michael Pena. The two show superb chemistry and they make what could have been a gimmicky action flick something a little more special, with a deeply emotional core at its center. They’re brothers and not once do you question that. As it sits End of Watch is a well-made cop drama that is unafraid to show you the realer side of police life. It doesn’t glorify LA’s finest, but at the same time it does a great job showing you just how much they can actually go through on a single given day. The story is Ayer’s weakest and most clean-cut, but it works as a performance-centered film that never completely ruins the handheld gimmick. Universal’s Blu-Ray presentation of the film is a troubling one. You have a faithful transfer that covers the rough edges, spotty detail and washed up colors with ease. The problem here is that the transfer is rarely gorgeous or something to really pay attention to, but you can’t count that against the film too much, because director’s intention steps in and makes these glaring mistakes somewhat acceptable. The film is supposed to look like it was shot with police cruiser cameras; so it should never look much better than that. It does, sometimes and those brief moments give the movie a more fleshed out look, but everything else is sort of good, but never great. The 5.1 DTS-HD Master Audio track isn’t nearly as shaky as its video counterpart. This track is almost always on the run, with gunshots and the sound of people running frantically on foot always clogging up the back channels, giving the front channels a little room to stretch out the dialogue and general front-and-center noise. Scenes that take place in close-quarters tend to sound the best, because of the room echoing and the track’s ability to capture all of that detail onto one set of speakers. Here’s a full list of the special features included in this combo pack:

• Audio Commentary
• Deleted Scenes (HD)
• Featurettes (HD)
• My Scenes Bookmarking
• DVD Copy
• Digital Copy
• UltraViolet Digital Copy

End of Watch is certainly David Ayer’s most accessible film yet. It features two strong protagonists with enough day-to-day conflicts to keep your mind moving and enough action to keep your heart pounding. The handheld filming style certainly gives the film an added layer of authenticity, providing you with a first-hand look at the mean streets of LA and the people that inhabit them. Occasionally Ayer drops the gimmick and the film suffers from it, but most of End of Watch is worth sifting through the not-so-good stuff. The Blu-Ray disc looks decent (as good as it should look; I should say), sounds great and is well-rounded, with a serviceable audio commentary track and a sizable batch of HD deleted scenes. Universal was also nice enough to include a DVD as well as two different types of digital copies. Fans of Ayer’s constantly gritty and grim look at those that protect us might want to rent End of Watch first, because it is missing that crooked and corrupt angle that has made the rest of his films slightly more memorable. Still, End of Watch gives us two explosive performances by Jake Gyllenhaal and Michael Pena and for that reason alone, it’s worth a watch. [springboard type=”video” id=”539237″ player=”wgtc007″ width=”600″ height=”350″ ]

Apparently there’s no ing for taste; The Twilight Saga: Breaking Dawn – Part 2 is leading the pack in Blu-Ray pre-sales this week, closely followed by Taken 2 and Skyfall. After a lengthy run, The Dark Knight Rises has fallen to number 12 on the bestselling Blu-Ray sales charts and it will be sorely missed (thankfully I already own the film and you should too).

This week, Jake Gyllenhaal and Michael Peña star as two boys in blue in End of Watch, a classic samurai film gets a reboot, and a little-known Sherlock Holmes film finally arrives on Blu-Ray.

Ready for this week’s picks? Then read on.

End of Watch

Release Date: January 22nd, 2013 Starring: Jake Gyllenhaal, Michael Peña, Anna Kendrick, America Ferrera, Frank Grillo, and Natalie Martinez. Director: David Ayer

An American thriller drama film written and directed by David Ayer ( who also wrote Training Day and The Fast and the Furious) that was well-received by critics. Roger Ebert gave the film his highest rating of four stars and called it “one of the best police movies in recent years”. 

Plot: After confiscating a small cache of money and firearms from the of a notorious cartel during a routine traffic stop, two young police officers are marked for death.

My Thoughts: I plan on watching it in the next few days and I can’t wait. I’ve heard great things about it and, to be honest, Training Day is one of my favorite films. Ayer’s work has a gritty visceral quality to it and I’m interested to see what Gyllenhaal does with the material. Although, I hear that his co-star in the film, Michael Peña, does an excellent job and was nominated for an Independent Spirit Award for Best ing Male for his role in the film. If you like your police films more grounded than Lethal Weapon, then you should give this a watch.

Check out our review of End of Watch.  

The Paperboy

Release Date: January 22nd, 2013 Starring: Zac Efron, Nicole Kidman, Matthew McConaughey, John Cusack, David Oyelowo, and Scott Glenn. Director: Lee Daniels

A thriller based on the 1995 novel of the same name by American author Pete Dexter. It competed for the Palme d’Or at the 2012 Cannes Film Festival but received mixed reviews from critics.

Plot: Lured by imploring letters from the beautiful siren Charlotte (Kidman), hard-nosed reporter Ward James (McConaughey) and his partner, Yardley Acheman (Oyelowo), return to Ward’s hometown of Lately, Florida, to investigate the seemingly unjust imprisonment of Charlotte’s lover,  alligator hunter Hillary Van Wetter (Cusack).

My Thoughts: I’m still on the fence about watching this one. It’s a decent enough cast and I love the ever-sensual Nicole Kidman (who still hasn’t responded to my ‘friend request’ on Facebook), but I’m a hard-sell on thrillers. However, while it did receive mixed reviews at Cannes, it also received the longest sustained standing ovation of the festival at 16 minutes. If you like thrillers you might want to add it to your collection or, at the least, give it a rental.

Read our review of The Paperboy over in our movie reviews section.

Hara-Kiri: Death of a Samurai

Release Date: January 22nd, 2013 Starring: Koji Yakusho, Hikari Mitsushima, and Naoto Takenaka. Director: Takashi Miike

A 3D remake of Masaki Kobayashi’s classic film Seppuku a.k.a Harakiri. The film was shown at the 2011 Cannes Film Festival to positive reviews but had only a limited theatrical release in the US.

Plot: A poverty-stricken samurai discovers the fate of his ronin son-in-law, setting in motion a tense showdown of vengeance against the house of a feudal lord.

My Thoughts: I thoroughly enjoyed this film and recommend it to anyone whose taste in samurai films go beyond their love of action and gore. It touches on issues of loyalty and honor while not being dragged down by expansive dialogue. While some of the values of the samurai culture may seem alien to a western audience, the film makes them accessible. For your Useless Information Pile: the film is the first 3D title ever to be show in official selection at the Cannes Film Festival.

The Seven-Per-Cent Solution

Release Date: January 22nd, 2013 Starring: Nicol Williamson, Alan Arkin, Robert Duvall, Vanessa Redgrave, Laurence Olivier, and Joel Grey. Director: Herbert Ross

A 1976 film based on the novel of the same by author Nicholas Meyer. A sort of tribute to/hodge-podge of a Sherlock Holmes adventure, both the novel and the film were critically-acclaimed.

Plot: When Dr. Watson (Duvall) discovers that Sherlock Holmes (Williamson) has become delusional as a result of his addiction to cocaine, he arranges for Holmes to journey to Vienna to be treated by none other than Sigmund Freud (Arkin). However, during the course of his treatment, Holmes becomes embroiled in investigating a kidnapping case with international implications, as Freud uncovers a large personal secret suppressed in Holmes’ subconscious.

My Thoughts: A great way to spend two hours. I’m a fan of Sherlock Holmes in general and gave this a watch under the mistaken impression that it was some sort of satire or comedy. While there are some comedic elements, it’s a mystery through and through, and I’d advise any mystery-lover to pick up a copy. The film received two Oscar nominations for Best Writing (Adapted Screenplay) and Best Costume Design at the 49th annual Academy Awards.

The Quiet Man Release Date: January 22nd, 2013 Starring: John Wayne, Maureen O’Hara, Barry Fitzgerald, Ward Bond, and Victor McLaglen. Director: John Ford

A 1952 Irish-American comedy-drama film that was well-received all-around and was a hit at the 1952 Venice Film Festival. It was nominated for a slew of awards and earned Ford the Academy Award for Best Director.

Plot: A retired American boxer returns to the village where he was born in Ireland, where he finds love.

My Thoughts: An excellent film and one that should be watched with your significant other. There’s a chemistry between the actors that’s almost palpable and you can’t help but cheer for a happy ending. Something to add to your Useless Information Pile: the kissing scene between John Wayne and Maureen O’Hara is actually shown in E.T. the Extra-Terrestrial. E.T. is touched by the scene while watching it on TV, causing Elliot to re-enact it while he’s at school as a result of their developing telepathic bond. In conclusion, if a fictional rubber alien can enjoy this film, then so can you.

The Men Who Built America

Release Date: January 22nd, 2013 Starring: Eric Rolland, Tim Getman, Adam Jonas Segaller, and Ray Reynolds. Director: Various

An eight-hour, four-part miniseries docudrama produced by the History Channel.

Plot: A series that shines a spotlight on the influential builders, dreamers, and believers whose feats transformed the United States, a nation decaying from the inside after the Civil War.

My Thoughts: I’ve only seen the first episode of the series so far, but I’m committed to watching the rest. It’s informative and dramatizes the time period in a way that gives it a modern-day relevance. I couldn’t help but compare many of the influential historical figures that the series highlights to some of the powerful CEOs that navigate today’s business world. If you like historical television, or know someone who does, pick this one up off of the shelves.

That’s all for this week. If you’ll excuse me, I’ll be getting some quality time in with my couch while watching Zombieland. Many people ask me how I manage to watch so many films; the truth is that I don’t sleep. I run on a combination of entertainment and sadness. That’s why to pull an all-nighter I have a Steven Seagal marathon.

Are you a fan of any of this week’s releases? Let us know in the comments below.

Universal has announced David Ayer’s latest cop drama End of Watch for Blu-Ray in January. The film stars Jake Gyllenhaal, Michael Pena and Anna Kendrick. Nothing says grit and real-life cop drama like Training Day writer David Ayer. He’s been responsible for either penning or directing some of the best corrupt cop features of the past decade, like Street Kings and Harsh Times. His latest feature is shot through the viewpoint of two LA city cops and the result is a thrilling and almost all too real depiction of what goes down on the streets on any given day. End of Watch isn’t as depressing or controversial as some of his past films, but he trades in the corruption and scum for a pair of blue-collar policemen played with brotherhood and comion by Jake Gyllenhaal and Michael Pena. The duo makes the film work despite its shortcomings and the POV filming technique does help increase the tension and on-edge action. Our very own Jonathan Lack had this to say about the film in his review:

 David Ayer’s End of Watch is an excellent film, a smart and authentic cop drama filled with visceral thrills and genuine pathos. It is one of the best of its kind, and I cannot recommend it highly enough.

Universal will be bringing the film to Blu-Ray in a Blu-Ray/DVD/Digital Copy combo pack with the following special features:

• Feature Commentary with Writer and Director David Ayer
• Deleted Scenes
• Fate with a Badge
• In the Streets
• Women on Watch
• Watch Your Six
• Honors

You can pick up End of Watch on January 22nd, 2013.

David Ayer’s End of Watch is an excellent film, a smart and authentic cop drama filled with visceral thrills and genuine pathos. It is one of the best of its kind, and I cannot recommend it highly enough. I must, however, begin this discussion with my sole major complaint, for it is the element most likely to bother or distract viewers. End of Watch is shot with a hybrid of documentary and ‘found footage’ aesthetics, and their effectiveness, as always, is questionable. I do not doubt for a minute the necessity to tell this story through gritty, ‘fly-on-the-wall’ camerawork. The central aim of the film is to give the viewer a candid window into the lives of Los Angeles police officers, and using documentary techniques reinforces the spontaneous, improvised nature of the material. None of the film appears polished, or even planned, and that increases our emotional investment in these characters at every turn. The cinematography subconsciously creates a belief that these events are real, that the outcome of every situation is truly unpredictable, and that these figures are not actors, but real, imperfect men leading very dangerous lives. I cannot imagine a conventionally photographed version of this story. The problem is that Ayer often feels he must provide an explanation for why the movie looks the way it does, so he employs the ‘found-footage’ technique that has been steadily popularized over the last decade. Jake Gyllenhaal’s character apparently attends a film class in his spare time, and therefore carries a camera with him everywhere he goes. It is an unnecessary and distracting convolution that constantly pulls the viewer out of the movie. I have always believed that the ultimate failing of ‘found-footage’ films is their inability to properly explain why the characters would film every single action, and while End of Watch does not offend as egregiously as some of its peers, every mention or sight of Gyllenhaal’s camera temporarily broke my belief in the reality of the drama. It’s not just that I have trouble believing a police officer would be allowed to photograph sensitive crime scenes. It’s that nothing about Gyllenhaal’s character indicates he is the kind of man who would do this. Yes, we are told he attends a film class, but we never find out why, or when, or even how he has the time or energy to do so. It is not an established part of his character, so when he whips out his camera while chasing down criminals, all the hard work the film has done to craft an authentic reality is momentarily tossed out the window. To be fair, much of the film is not shot from a character’s point-of-view, so it is an infrequent problem on the whole. But it is a problem, one I feel is worth mentioning when the rest of the movie does just about everything right. End of Watch is primarily a character piece, and while there is an overarching narrative involving the local cartel, the focus is not on plot. Instead, the film is a window into the lives of Officers Taylor (Gyllenhaal) and Zavala (Michael Peña), longtime partners who love each other like brothers. Their relationship is the centerpiece of the film, and the central insight Ayer offers is that even though these men experience a tremendous amount of change – marriage, children, shootouts, chases, etc. – their friendship never deteriorates. As time goes by, it is only strengthened. For when one lives a dangerous life, where everything one knows could disappear in a manner of seconds, one’s strongest bedrock is the person who understands this lifestyle best. Wives, friends, and children may be equally important, but they cannot comprehend what it is to be a cop the way one’s partner can. Many films have explored this sacred bond police share with one another, but few have ever cut to the heart of the issue as eloquently as End of Watch. Much of the credit must go to Gyllenhaal and Peña, two spectacular performers who share an easy, natural chemistry. The majority of the film is devoted to watching these two interact, as cops or as friends, and if the actors weren’t as committed to the roles as they are, I could see the film falling apart very fast. The characters are extremely well defined as written, but Gyllenhaal and Peña’s performances seem largely improvised, as though they are feeling out Taylor and Zavala’s various imperfections and strengths as they go. That sense of spontaneity is incredibly compelling, reinforcing the idea that, in the real world, humans do not come fully formed. We are a constant work-in-progress, and the highly dynamic nature of these characters reflects that. Authenticity is the central creative motif across the board, as Ayer’s attention to detail is staggering from start to finish. We have seen drug busts, car chases, and shootouts on film before, but rarely with such intense levels of real-world grit. Taylor and Zavala always call in reports properly when on the job; thought is given to the consequences of unloading a firearm; corners are checked, procedure is followed, and when the characters must break standard protocol, it is treated as a legitimately big deal. Films and TV Shows so often fudge the realities of police work to ‘heighten’ the drama, but End of Watch proves that by playing with real-world rules, the stakes can seem even higher and more tangible. Seeing the ‘normal’ routine of Taylor and Zavala’s profession makes the life-threatening moments so much more frightening; these incidents are not expected, and throw the characters and audience out of their element. When Ayer does go into full-on ‘action movie’ mode, he does so spectacularly, ratcheting up the tension as far as it will go before pushing even further. He overplays the ‘shaky-cam’ style in some of the bigger action scenes, but the sense of jeopardy never disappears. The finale, in particular, pushed me further towards the edge of my seat than I have gone in months. It is an incredible ending. Though not quite as bold as it initially appears to be, the climax is frank, terse, and completely disinterested in leaving the audience happy. It stays true to the central themes of the film, even if doing so means going to very dark places, and for that, I respect End of Watch immensely. It is rare these days to find a cop drama that truly excels, that circumvents expectations and offers a fresh, unique perspective on a long-standing cinematic conversation. This is what End of Watch provides, and even if certain stylistic choices ring hollow, the film does so much right – I feel remiss for not mentioning Ayer’s outstanding musical selections, for instance – that the overall experience is an immensely powerful one. Sorry, this video is currently unavailable.

End of Watch, poor you. Releasing your trailer on the same day that we get new trailers for The Expendables 2 and The Amazing Spider-Man. What were you thinking? Talk about being overshadowed. The new cop thriller from director David Ayer stars Jake Gyllenhaal and Michael Peña as “a couple of uniformed officers who overstep their bounds when they decide to investigate a drug cartel and end up becoming targets.” Ayer is known for this type of stuff, having directed films like Harsh Times and Street Kings. He also wrote Training Day and S.W.A.T., so End of Watch is safely in his comfort zone. To me, it looks a bit generic and not all that exciting but who knows, Gyllenhaal is pretty good in lead roles and I did enjoy Training Day a lot. Hopefully End of Watch will surprise us. The found footage style offers up something a bit different as we haven’t really seen it applied to this genre but aside from that, I’m not too interested in what we see here. Take a look at the trailer below and let us know what you think. End of Watch opens September 28th.

A powerful story of family, friendship, love, honor and courage, End Of Watch stars Academy Award nominee Jake Gyllenhaal and Michael Peña as young Los Angeles police officers Taylor and Zavala as they patrol the city’s meanest streets of south central Los Angeles. Giving the story a gripping, first-person immediacy, the action unfolds entirely through footage from the handheld HD cameras of the police officers, gang , surveillance cameras, and citizens caught in the line of fire to create a riveting portrait of the city’s darkest, most violent corners, the cops who risk their lives there every day, and the price they and their families are forced to pay.

News surfaced last month, pointing towards Jake Gyllenhaal being in early discussions about starring in a new police drama from director David Ayer (Street Kings, Harsh Times) named, End of Watch. Now, First Showing tells us that Michael Pena (Crash, World Trade Center) is also set to the cast of the film, which tells the story of the relationship between two longtime police partners played by the two aforementioned actors. The film’s script is being written by David Ayer, who will produce it under his Crave Films banner. It is unsure when production will begin though. This is interesting news. Both actors have proven themselves in previous roles. Though Michael Pena has been doing a lot more comedy as of late, his performance in Crash was excellent and really showed his acting chops. Gyllenhaal is also an actor who has been improving with every film he does. He recently gave a fantastic performance in Source Code and I’m looking forward to seeing what he’ll do in this gritty cop drama. What do you think?