Avaliações do Metacritic

Sabotage’s mystery component is mostly dead on arrival, and poor Olivia Williams has the thankless job of carrying it as the no-nonsense detective searching for the killer. But as Ayer proved with his previous film, End Of Watch, he has a natural eye and ear for the ecosystem of law enforcement.

The movie wants it both ways: bloodthirsty revenge and some finger-wagging about the tactics.

Sabotage cannot be called a good movie, not with a straight face. But as an Arnold Schwarzenegger movie, it has something.

This is an extremely gory flick, with autopsy scenes to complement Schwarzenegger’s usual shoot-first sensibilities. After 30 years, it’s pointless to complain about the collateral damage in his movies, but here Schwarzenegger is taking vigilante justice to dark new levels that can only be reached via plot holes big enough for a Hummer.

The rest of Sabotage rarely rises to Schwarzenegger’s level, in large measure because the other characters (of which there are far too many) aren’t nearly as sharply drawn by Ayer and co-writer Skip Woods.

David Ayer’s latest, Sabotage, is a sloppy DEA whodunit, distinguished by its scatological humor and gore.

Director David Ayer is using the blood and guts to make a point about the insane violence committed by drug cartels, yes, but the bloodshed is unrelenting and, ultimately, exhausting.

Watching this head-slappingly stupid movie is an exercise is seeing David Ayer sucked into the drain that Arnold’s been spiraling down ever since his “comeback.”

The violence is always vicious, the catalog of brutally attacked, pornographically bloody bodies is unending, and despite the abundance of action the film is terribly dull.

Does this mean that Sabotage is a rich, morally complex story about the gray zone between good and evil? Hell, no. It just means it is a bungle.