Issue 45 2012

Monthly newspaper and online publication targeting 18 to 35 year olds. The ultimate guide to the hottest parties, going out and having fun. Music, fashion, film, travel, festivals, technology, comedy, and parties! London, Barcelona, Miami and Ibiza.

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Issue 45 / 2012 www.guestlist.netFILM 21 7 END OF WATCH It's been thirteen years since The Blair Witch Project first terrified audiences, and filmmakers remain impervious to the visceral charms its 'found footage' technique. Among them is David Ayer, acclaimed writer of Training Day and a moderately successful director in his own right, employing realism some through handheld cameras attached to his protagonists' uniforms. It's a novel idea, sporadically used, giving this cop drama a certain jumpy charm. Perhaps less convincing is its justification – Officer Brian Taylor (Jake Gyllenhaal) is completing a filmmaking course as a college elective, and sees prime potential in his daily beat with partner Mike Zavala (Michael Peña). And considering some of the scenes they encounter everyday, you can't blame him for the spotting entertainment value in it all. Although sold as a thriller, Ayer is far more interested in the relationship between Brian and Mike. This isn't a played-for-laughs Bromance, these are two best friends who risk their lives on a daily basis, both safe in the knowledge that each has the others ones back. Their scenes together are some of the films most enjoyable – Mike is blissfully married and expecting his first child, Brian has a new girlfriend and is in genuine need of advice. It's all surprisingly sweet, and wonderfully played by Gyllenhaal and Peña. It also briefly distracts from the threat of a Latino gang that looms when the two accidently seize money from them. Led by Maurice Compte's appropriately named 'Big Evil', they're a terrifying troupe that force Brian and Mike to deal with some home truths. It's here that End of Watch goes up a gear; delivering the kind of white-knuckle thrills promised in the trailer. And when then that POV footage kicks in, prepare yourself for a queasy and edgy ride, one that not only amounts to one of the best films of the year, but also announces Ayer's breakthrough as a director of smart, engaging cinema. 23rd NOV

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