Better Than You'd Expect

With every bit of 'Sabotage' we see it becomes more clear this is a David Ayer movie, not an Arnold Schwarzenegger comeback attempt.

In the clip below the quality in camera and editing is apparent. I like the short snap zoom on the sign before we get inside to see what's going on. Dialogue starts immediately (over footage of the sign) -- a technique you won't see too much in most action films.

Once inside tension is solid and convincing thanks to Ayer's handling. Arnold's first shot is during the line "Guess I'm the only one with any goddamn balls here," which may seem like obvious editing when you see it executed but probably wouldn't be done as well by most directors, who would simply show the room in a master shot that includes all the actors, which wouldn't have nearly the impact of a reveal.

The snap zoom, still very short, is repeated on Lizzy (Mireille Enos) at about :30. Again, in this context as used by Ayer, this is a seemingly obvious reiteration of technique, but you couldn't count on such polish from the average action director.

Great lighting on Arnold's face at :24 -- nice definition on his stubble -- from cinematographer Bruce McCleery. Another "So what?" moment, but such deliberate work is rare in most genre flicks.

Cutting in the middle of the word 'hazard' emphasizes the point Wharton is trying to make and keeps the audience on its toes. Another considered touch from Ayer and editor Dody Dorn that comes off looking effortless but adds life to the scene.

Action moves left to right pretty cleanly, which isn't a big thing but it wasn't accidental either. Another director may not even have been aware of the energy flow.

David Ayer has crafted an ensemble action drama in which Schwarzenegger is only a part, not the star. At least in its mechanics, 'Sabotage' is a cut above.