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- New York Magazine/Vulture1/8/2013 by Bilge EbiriAyer and his cast appear to have so convincingly nailed the way these characters talk and act that you might not even notice the film slipping from workaday grit into out-and-out myth.
- New York Daily News1/8/2013 by Elizabeth WeitzmanThe actors, both excellent, get right into Ayer's groove. So by the time we arrive at the unsparing climax, we really know and care about these guys.
- Gyllenhaal and Pena are after a lived-in camaraderie and a street-level realism. Pena, especially, succeeds; you buy him every second.
- The performances here are so sharp that viewers may wish End of Watch has been shot by someone who knew how to find the right point of view for a scene and leave it there.
- Intermittently enjoyable but incredibly frustrating.
- Jumpy and exciting.
- Fort Worth Star-Telegram/DFW.com9/22/2012 by Cary DarlingThe ingredients in [this] cop drama are as routine as a traffic stop. But director/writer David Ayer (who wrote the electric good-cop/bad-cop Training Day) makes it work.
- Christian Science Monitor9/21/2012 by Peter RainerBoth actors are marvelous -- this may be the most nuanced and far-ranging performance Gyllenhaal has ever given -- and writer-director David Ayer is unapologetically frank about the dangers these men face.
- I'm not sure who appointed David Ayer poet laureate for the LAPD, but at least he takes the job seriously.
- End of Watch suffers from no end of sanctimony.
- Ayer ... keeps wrecking the sense of realism he's trying to build.
- Gyllenhaal and the perpetually under-rated Pena have a wonderful way of bouncing off one another and Ayers is wise to make this the energy that drives the movie instead of mere violence.
- Gyllenhaal and Pena have great chemistry together ... in their best performances to date.
- A portrait of law enforcement under pressure that is as ennobling as it is gritty.
- A visceral story of beat cops that is rare in its sensitivity, rash in its violence and raw in its humor.
- San Francisco Chronicle9/20/2012 by Amy BiancolliThe best scenes are filmed inside the cruiser, dashboard shots that face inward instead of out, catching Gyllenhaal and Pea in moments so playful and true they make all other buddy cops look bogus by comparison.
- Writer/director David Ayer gives us an authentic, sometimes shockingly gruesome ride along.
- The shaky camera work -- often a gimmicky stylistic option -- is an effective choice here, both as a story element and a technique.
- It's not a pretty job. But it's a pretty awesome film.
- A muscular, maddening exploitation movie embellished with art-house style and anchored by solid performances.
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