David Ayer, the writer behind award-winning Training Day and 2012's End of Watch, ventures into yet another shady underworld of dirty cops with his latest creation, Sabotage.

Set in Georgia, the film follows the story of an elite, undercover DEA Special Ops team of nonconformists; 'Monster' (Worthington), 'Grinder' (Manganiello), 'Pyro' (Martini), 'Tripod' (Vance), 'Sugar' (Howard), 'Smoke' (Schlegel) and finally, Lizzy (Enos), who are all led by their grizzled Special Agent, John Wharton – a.k.a Breacher – (Schwarzenegger).

While out on a mission raiding the mansion of a notorious drug cartel, the team comes across ten million dollars and decides to conceal it, with the plan of coming back for it later. However, when they return to collect their hidden treasure, the group discovers that the money is gone, and the guys quickly find themselves under investigation for the missing money.

Months later, the case is dropped and the group is quick to return to duty, but things are far from back to normal. The mystery behind the missing money reaches another level of obscurity as the members of the notorious team are killed off, one-by-one. The murders draw the attention of a homicide detective, Brentwood (Williams), who begins digging into the killings, whilst Breacher begins suspecting that the perpetrator might be one of his very own.

At times, Sabotage plays out like a classic mystery-thriller and has, rather hastily, been compared to Agatha Christie's And Then There Were None. Other than one seemingly long car chase and a few gun-fights, the story is surprisingly short on action, keeping its focus on the dynamics of the team, who, thanks to an overdose of bravado, are incredibly difficult to connect to, let alone root for.

Surprisingly, Schwarzenegger settles into his role quite nicely; his now ripe physical condition is suited to his character's troubled ways, and although many would find it difficult to swallow the ex-governor as a rogue cop, he manages to sell his side of the story pretty well.

As part of the murky mis en scene, Ayer uses a type of violence more associated with a slasher flick and goes a little overboard – in other words, blood for the sake of blood. To top it off, the mystery, supposedly the driving force of the story, is sloppy and is met with one too many confusing twists and turns. 

Bloody, vulgar and full of one too many shock moments, Sabotage is passable, but still an overly messy thriller, whose occasionally implausible plot twists suck out both the fun and the logic from its otherwise well-constructed tone.