Writer/director David Ayer has a disturbingly unhealthy obsession with cops 'n' robbers in LA; since he wrote the script for 2001's superb Training Day, every film he's written or directed since has been set in the City of Angels and featured either cops, robbers, or both. Unsurprisingly, End of Watch continues this alarming trend.

The streets of South Central Los Angeles can be pretty dangerous at times, so it's just as well that it has officers Taylor (Jake Gyllenhaal) and Zavala (Michael Peña) to protect and serve them.

They came through the academy together and have been patrolling the streets ever since.

As well as the usual (and unusual) domestic stuff they have to handle, they also work in a section of the city that is notorious for gang activity. On one particular shift, they pull over a suspicious driver, on the pretence that the CD hanging from his mirror is a violation. Their hunch turns out to be a good one, as the driver is not only armed, but also carrying a lot of drug money.

They're pretty pleased with themselves, but the drug cartel whose money it is, are less impressed. And after inadvertently discovering another operation by the same cartel, Taylor and Zavala begin to flash dangerously bright on this particular gang's radar.

Oh man, those burritos are truly coming back to haunt us!

The disappointments with this film start early on when Gyllenhaal's character starts filming with his own camera from the off. Just what the world needs, another shaky-cam flick. Although Ayer, who wrote and directed this feature, doesn't rely on the handheld stuff wholly, he uses it a hell of a lot. The fact that he doesn't commit to this style one hundred per cent seems to suggest that he wasn't entirely convinced to go all the way with the style completely. As you would expect, the handheld scenes shot add absolutely nothing to the film, except some annoying wobbling and unnecessary disorientation.

The script is also lacklustre. It's nothing more than a 15 rated episode of the excellent US cop series Southland, which features the experiences of LAPD patrol officers. This big screen version offers nothing that hasn't already been seen in that particular TV series. The central premise for this film is, it's pretty foolish to cross with gangs. Now there's a surprise.

The one area that is does manage to work is in the relationship between Gyllenhaal and Peña's characters; the pair have an undeniable rapport on screen, much of which must be attributed to some entertaining dialogue.

The bigger question must be that perhaps it's time for Ayer's to move away from LA, creatively at least. Apparently crime happens in many other US cities too; maybe that's something he could investigate further.

As enjoyable as Gyllenhaal and Peña are, End of Watch should have the Miranda rights read to it for its criminal lack of originality.