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Short summary

A CIA agent on the ground in Jordan hunts down a powerful terrorist leader while being caught between the unclear intentions of his American supervisors and Jordan Intelligence.
Roger Ferris is a CIA operative in the Middle East; Ed Hoffman is his control at Langley. Cynicism is everywhere. In Amman, Roger works with Hani Salaam, Jordan's head of security, whose only dictum is "Don't lie to me." The Americans are in pursuit of a cleric who leads a group placing bombs all over Europe. When Hani rebukes Ed's demand that Jordan allow the Americans to use one of Jordan's double agents, Roger and Ed hatch a plan to bring the cleric to them. The plan is complicated by its being a secret from Hani and by Roger's attraction to a local nurse. Satellites and cell phones, bodies and lies: modern warfare.

Trailers "Body of Lies (2008)"

For Manchester scenes (filmed on actual streets in the USA), any overly "American" curbside items (like certain fire hydrants) were hidden by dropping bottom-less slatted metal trash cans over them and then adding prop "English" rubbish; however, extras and crew unaware of this subtle artful touch continuously filled the apparently-normal-looking receptacles with their own trash. Between filming sessions, rueful set dressers would have to remove a foot-high layer of discarded plastic water bottles (and then reset and fluff the "official" rubbish).

Some performers in the exterior Turkish Cafe in Munich Scene were stage-reading actual Arabic newspapers. The more-attentive among them were indeed reading from right to left (most noticeable when they turn a page).

The plot is set in various international locations: Manchester (United Kingdom), Samarra and Balad (Iraq), Qatar's US Military Base, Amman (Jordan), Amsterdam (Netherlands), Langley and Washington DC (United States), Dubai (United Arab Emirates), Incirlik (Turkey), Vienna (Austria) and Dar'a (Syria) but the actual filming locations were only Morocco and United States.

For Manchester Scenes (filmed in a gritty and real American slum), actual English "police line" tape was used. Its distinctive blue and white coloration contrasts with US-style police tape which is yellow with black text. Comparison was easy because occasional stray bits of American police line tape from past actual crime scenes were among the real neighborhood's windblown street debris littering the edges of the filming area.

To extras waiting to join the "Terrible Neighborhood" and "Terrible Flat" scenes, a wardrobe specialist announced, "Please remove your personal jewelry including school rings and wedding bands; this is supposed to be a gritty neighborhood full of crackhouses and you're poor... you hocked all of your jewelry - for drugs."

Russel Crowe put on 50 pounds for this film.

During one Munich scene (actually filmed on a busy urban US street corner), civilian vehicle traffic was stopped only during actual filming. Just before and after filming, the prop street signs (written in German) were in place while the street was still open to traffic. Thus, some unknowing motorists went from seeing typical street signs (which said things like "Central Avenue" or "Washington Street") to reading differently-colored German signs for, say, "Charlottenstraße".

Mark Strong initially turned down a role because his wife was pregnant. He changed his mind after his wife encouraged him to take the role anyway.

Costume standards were such that performers portraying British police wore full regalia including a tie, utility belt, regimental insignia, and a bulletproof jacket even though none of these were visible under their blaze yellow police emergency-response raincoats. Also, these same police were usually positioned with their backs to the camera - which was often a quarter-mile away.

Carice van Houten actually played the character of Roger's wife Gretchen Ferris, but all her scenes were deleted and she does not appear in the final cut. The movie does provide dialogue that distills the story in the book, when Roger says they are getting divorced because "I was a bad husband and she was a worse wife".

Leonardo DiCaprio wore brown eye contact lenses and dyed his hair black for his role.

The Amsterdam scene in the picture was actually shot at Eastern Market, a historic marketplace in Southeast Washington, DC, which hosts weekend food and flea market vendors. It was shot on a hot September day, though extras had to suffer wearing heavy clothing for what was supposed to be a cool fall day. The car explosions were really staged - not special effects.

When Ferris first meets with Hani, he is asked about what he has heard about Hani's unit of intel gathering and interrogation methods. He responds by saying "finger-nail factory". Mark Strong was in Syriana (2005) and tortured George Clooney's character by pulling out his finger-nails.

Russell Crowe, Oscar Isaac, Mark Strong, and Simon McBurney all starred in Ridley Scott's next film, Robin Hood (2010).

To get just the right look during a massive pyrotechnic explosion while also not damaging still-occupied neighborhood buildings, technicians used a "car chucker" (rather than the force of the blast) to fling a vehicle violently. The fridge-door-sized steel plate has a powerful spring-hinge device able to catapult cars for specified distances.

During filming in the USA, a few of the POVs (privately-owned vehicles) which extras used to reach the locations were used during filming of scenes meant to portray parts of Europe, but first the cars needed to be "de-Americanized". This involved more than just switching license plates. Rear-view mirror dangling trinkets (graduation tassels, novelty-shaped air fresheners, etc) were removed. Bumper stickers advertising vacation spots and political views were scraped off. In some cases, windshield decals from European municipalities were added.

The football match that Aisha's nephews are watching on TV is a Nationwide League Division Three match between Yeovil Town and Torquay United; the Yeovil player Adam Lockwood and an advertising hoarding for Yeovil College are both clearly visible in the footage. The match was played on 27th September 2003.

Ayesha's nephews are named Yousuf and Rowley. Rowley is an unusual name for a Muslim boy and it stands out. It's possibly a nod to the FBI whistleblower of the same name.

A key scene's spectacular explosion is not a digital effect; it was a real, though controlled and safe, pyrotechnic blast - much to the delight (or, in some cases, surprise) of neighborhood onlookers.

This is Golshifteh Farahani's first appearance in a major American film.

This was the first time Leonardo DiCaprio & Russell Crowe have been in a film together since The Quick and the Dead (1995).

A visual sequence meant to illustrate cross-cultural suspicion by showing German police and Turkish migrant-workers eying each other darkly at a Munich street corner's outdoor tea café was cut. A short clip of the sequence survives, but as a sort of Islamic "anytown", without the German-language street sign or the Munich police car. It appears as an aside In Scene 2 while Hoffman briefs headquarters staff about "men from the future", Americans, being easy to defeat when terrorists use face-to-face meetings and hand-written notes in place of easily-traceable electronic technology.

This is the first time that Ridley Scott & Leonardo DiCaprio have collaborated on a film together as director & actor respectively.

While the derelict-but-surviving US neighborhood where the Manchester Scenes were filmed had plenty of its own street litter and urban debris, the Hollywood crew (in the effort to make the area look like an English slum) had left certain piles of prop rubbish in precise places. For scene continuity, such rubbish needed to remain present - even when scenes took multiple days to film. To protect against unwitting community litter cleanup, "essential" debris was flagged overnight and on weekends with "hot set" tape (a specialized version of other American yellow hazard tapes which say things like "caution caution caution", "wet paint", or "police line do not cross").

Over the course of filming the Terrible Neighborhood scene, two tanker-truckloads of water were sprayed onto the location neighborhood streets because, for looks, wet roadways were considered preferable to dry pavement.

Mark Strong and Simon McBurney would later co-star in Plekksepp, rätsep, sõdur, nuhk (2011), another espionage thriller but this time set in 1973 and without the technology presented in this movie.

The film marked the second time Russell Crowe and Giannina Facio played husband and wife, respectively, in a Ridley Scott Film, after Gladiator (2000). Scott would eventually marry Faccio in 2015.

The football game being played in the background is actually Motherwell Vs Celtic, not as previously stated to have been Cambridge Vs Yeovil

Russell Crowe and Mark Strong have been in two movies together. Valede rägastik (2008) and Robin Hood (2010).

After the theatrical release of the movie Russell Crowe declared to Deadline.com that the first meeting between Roger Ferris (Leonardo DiCaprio) and Ed Hoffman was partially cut. After Hoffman (Crowe) comments Ferris that he watched Poseidon (2006) in the plane where he traveled from USA to Jordan for meeting Ferris, this one questioned him "How is it?" (the movie), with Hoffman answering: "It was like watching a Greek girl get a bikini wax. I had no idea when it was going to end".

During the scene which is included the "Terrible Neighborhood" sequence, set dressers pasted street posters for real musical bands upon walls and lampposts. While the selection of posters was generally random, there was careful attention paid to the posters seen just before the tactical squad storms the bomb-makers' flat: they are bright red with the headline "smoke or fire above the city". The red sky and black cityscape purposefully foreshadows the massive explosion and fireball (indeed, "smoke or fire above the city") which is seconds away.

User reviews


  • comment
    • Author: Doomblade
    What is most interesting about Body of Lies is that it manages to rise above the predictability and formula that plagues the vast majority of espionage films. It is post-Bourne wrapped up in a more mature Bond plot with a politically conscious edge. Yet it never feels like it is stealing elements of those, more using them as a launch-pad for its own ideas. Though the film itself is sometimes guilty of falling back into safety, it remains consistently exciting and intently engaging even when those moments occur because of how keenly detailed and acted it is. It makes it standout as a cut above many of its contemporaries.

    We follow Roger Ferris, a ground CIA operative who moves throughout the Middle East in an attempt to lure out and capture terrorist Al- Saleem. Of course his practices involve plenty of lies and deceit as he tries to retain the support of the head of the Jordanian Intelligence. Ferris is played by Leonardo DiCaprio who makes an excellent centrepiece for the film. DiCaprio is a great choice for the role, given his superb ability to convey emotion and his delivery making even mundane dialogue seem important. I'm not sure many could have been as appealing as he is here. Ferris grows into a more interesting character as the film progresses. His disillusion with the lies he has to sow and backstabbing from his superiors make for some of the most intriguing moments, whilst providing some welcomed morality that never feels forced.

    His superior Hoffman is played terrifically by Russell Crowe, whose weight gain and distinct accent allow him to become the character. Crowe is at his best playing characters like this. Confident, forcefully honest, almost egotistical, yet understanding the importance of the situation. They're traits he always nails. Hoffman appears all-knowing, frequently surveying from the air, keeping constant contact with Ferris as he aids him in setting up a fictional terrorist group to smoke out Al-Saleem. He also clashes with the Jordanian head Hani Salaam, who is convincingly played by Mark Strong, a man who only asks that the CIA don't lie to him, which is something that Ferris finds increasingly difficult to avoid.

    The interactions and differences between these three main characters is definitely the film's most interesting aspect. All three have distinct personalities that are well developed, conduct their jobs in very different ways and are portrayed by actors who always convince. The scenes that bring them together are always gripping, Ferris meeting Hoffman in Washington to devise a new plan, Hani questioning how Ferris could lie to him, the three of them discussing their mission. They all share a suspicion of one another that is fascinating to see play out.

    There is a romance between Ferris and an Iranian doctor that is nicely played out and expands the characters. It also offers us an interesting look at the perception of a relationship with someone from the West in the Middle East. However, the issue is that it doesn't really fit in with the tone of the film and ends up becoming a plot device later on in the film which makes it feel rather forced. The action scenes and shootouts are always very fluid and exciting to watch. Notably, there is a weight to them that makes the injuries feel painful, these operatives don't just bounce back up like in so many spy flicks. There's a torture scene near the end that is brilliantly intense and really keeps you guessing as to its outcome.

    With Ridley Scott at the helm the film is fantastic to look at and his direction is as smooth as it's ever been. In fact I don't think the Middle East has ever looked this vibrant and authentic on screen before. Scott directs the film masterfully. He manages to make the dialogue driven scenes feel just as tense as the action ones. I especially like the use of aerial surveillance, as it gave the film a much wider scope and added to the feeling of always being watched. Scott is saddled with a script that can be jargon heavy, but he's able to make it understandable and technical without dumbing it down or filling it with dialogue that nobody would comprehend. The funny thing is that this is type of film Scott's Brother Tony would usually at home doing, so it's nice to see him try his hand at it and go for a more subtle approach.

    Despite its amalgamation of various espionage tropes and some misplaced plot points, Body of Lies is an exceptional genre film. It manages to work as both an exciting action thriller and as a more controlled politically-charged piece. The story is packed with deception and intrigue, just right for this type of film. The main characters are well-rounded and captivating to watch, they guide us through the film and I always wanted to see what their next move was going to be. It is a layered story and it's impressive just how well it is conveyed. Plenty of praise should go to Scott, his three leading men and script writer William Monahan. They have crafted a film that is well- balanced, a vivid portrait of the CIA in the Middle East and makes a number of potentially clichéd aspects feel fresh again.
  • comment
    • Author: Hulis
    The main thing I was curious about with "Body of Lies" is what sort of film it would end up being. It could have been a post-Bourne action thriller, a serious dramatic thriller with a political edge ("Munich", "Syriana"), one of those intolerably dull post-9/11 films ("Lions for Lambs"), or something like Ridley Scott's brother Tony's "Spy Game", a movie with an interesting premise and disappointing execution.

    I would argue that "Body of Lies" is the exact opposite on paper of "Spy Game". It's a movie with a questionable, sketchy premise and damn good execution. I'd always definitely preferred Ridley's sensibilities and films to Tony's, and his take on a story about a CIA agent working against agency politics is definitely superior as well, although a very, very large amount of my preference for "Body of Lies" comes from the script by "The Departed" scribe William Monahan. "Body of Lies" bizarrely manages to work as both a hugely entertaining, nifty action thriller and as a socially/politically-conscious drama. I can't believe I'm about to say this, but it really does go from "Syriana" to "The Bourne Identity" in a second, and does so without feeling ridiculous, contrived, or silly. It just somehow pulls it off, and I'm crediting Monahan with most of this success although Scott certainly handles the shifts in tone extremely well.

    All you should know about the story going in is that DiCaprio plays Roger Ferris, a CIA field agent in an important position in the middle east division, just below the leader of the division Ed Hoffman (played by Russell Crowe), a snarky, racist, and mostly unlikeable man who leads the missions remotely through his laptop and cellphone. Ferris uncovers a lead on a major terrorist leader potentially operating out of Jordan, and chooses to act on it, involving Jordanian intelligence leader Hani Salam, played brilliantly by Mark Strong. His performance is just the right side of slightly hammy, and works wonderfully well. There are twists and turns and it's a lot of fun.

    Now here's where I'm going to start sounding really bizarre: I know I just said it was a lot of fun, but there's a good amount of substance here and a good deal to be learned about middle-eastern politics (having lived there for many years, I can assure you that this film works as a primer on the mindset and cultural feel of the locations it is set in, and of the political system there. Its observations on Jordanian intelligence in particular are very much spot-on. There are scenes where the film gets really dark and serious, and they completely work as well. In particular, for a white American screenwriter's work, this is incredibly perceptive and understanding of how Jordanians act and feel. Something like "Rendition" from last year, while generally just not a good film, was also hopelessly inaccurate on just about everything. There was no work there, just a message the filmmaker wanted to send. With "Body of Lies", every second feels (and is) authentic and real (outside, perhaps, of some of the details of the espionage aspects, although the writer of the book it was based on was CIA), and there's even some cultural jokes completely in Arabic, untranslated on screen, that basically no non-Arabs will understand. It's a remarkably vivid, real portrait, and considering Hollywood's past of portraying Arabs generally in a 'dem Ayrabs, we America' way, which completely ignored the basic dress and attitude of real Arabs, something like this is refreshing.

    The movie isn't perfect, and there's a key scene at the end which feels very didactic and heavy-handed (although judging by the twentysomethings who left the theater talking about how cool one of the torture scenes was, even a message delivered this bluntly just isn't getting into their thick skulls), but it somehow gets away with being an enjoyable genre piece and a genuinely thought-provoking and perceptive film (but not one which focuses on these elements to the point of being overbearing), with actual understanding of mid-eastern politics and culture, wonderfully involving characters (including the refreshingly non-sexual love interest Aisha, played by Iranian actress Golshifteh Farahani), and even a surprising sense of humor. "Body of Lies" is most definitely a cut above most in its (overall quite poor) sub-genre, and one of the biggest surprises of the year.

    8/10
  • comment
    • Author: black coffe
    You really have to admire Ridley Scott's moxie.

    Even though the 70-year-old director has long established himself as one of Hollywood's best and most durable directors; having helmed some of the most entertaining films of all time, in virtually every genre (including sci-fi classics like Alien and Blade Runner); and having been nominated no less than three times for the Best Director Oscar (Thelma & Louise, Gladiator, Black Hawk Down), to decide to take on theme that has produced exactly zero blockbusters thus far – the Middle East and terrorism – takes an incredible amount of chutzpah.

    But it does help if you have the help of two of the biggest actors in Hollywood at the moment, those being Leonardo DiCaprio and Russell Crowe (who has worked with Scott on two previous films, Gladiator and A Good Year). It's ironic to think that the last time these two actors shared the screen was back in 1995, with the clichéd-but-entertaining oater The Quick and the Dead. Of course, at the time, Crowe was a complete unknown and DiCaprio was a 21-year-old newcomer with only a couple of notable titles under his belt. But oh, how that's all changed now.

    It's not easy to describe the plot of Body of Lies without giving too much away. DiCaprio plays CIA operative Roger Ferris, who is trying to flush out a terrorist leader named Al-Saleem in Jordan. He gets his orders from Ed Hoffman (Crowe), a man for whom results are the only satisfactory outcome, delivered with a fair amount of arrogance and a cocky Southern drawl. Ed plays the situation like a kid playing a video game, and has the resources to change the rules anytime he feels like it, dispensing his orders from his office, from his backyard, from his daughter's soccer game, for Pete's sake! This, of course, infuriates Ferris to no end, because he is the one who is in the trenches, chasing the bad guys, dodging bullets, ducking explosions, and procuring the badly-needed intelligence that Hoffman needs. Ferris is also trying to build a productive working relationship with the head of Jordanian Intelligence, Hani Salaam (Mark Strong), a relationship that is made even more tenuous by Hoffman's double-dealings and hidden agendas.

    There are so many ways that Scott could have screwed this up. A lesser director might have chosen to ramp up the action, sacrificing intelligence for entertainment. A lesser director could have taken this story of espionage and twisted it into a convoluted and indecipherable Gordian knot. A lesser director would have gotten less convincing performances from his lead actors.

    But Ridley Scott is not a lesser director. Though the plot is indeed complex, with many layers and sub-layers, deceit and treachery, Scott never lets you lose sight of the overall picture. He tells a solid, wonderfully entertaining story, without the need to drive home its message with sledgehammer subtlety (after all, very few things are black and white). And most of all, he gets electric performances from Crowe and DiCaprio, whose symbiotic relationship with a thinly-veiled veneer of mutual contempt is a pleasure to watch.

    I don't know if Body of Lies will end up breaking through the barrier that every movie in this genre couldn't; but for what it's worth, I hope it does. One thing's for sure… if anybody can, Ridley Scott can.

    For this and other reviews, please check out www.thelatestmoviereviews.com.
  • comment
    • Author: Dagdage
    LEONARDO DICAPRIO was brilliant in this movie and he was ably supported by Russell Crowe.Mark Strong was strong(no pun intended) in the few scenes he was featured.The Thing that I like most about this film is its realism.The story was something i felt i have already seen before but quite interesting to follow. CIA tries to take down a terrorist leader.. action / drama and thriller moments mixed to a enjoyable movie. There are quite many things to keep track so pay extra attention to the story. Overall a well done movie.With fantastic editing and a well-structured story, Body of Lies is a dark, gritty, and complex spy thriller.Leonardo DiCaprio plays a CIA agent undercover in the Middle East, gathering intelligence on an Al-Qaida terrorist network, negotiating and double crossing with both the Jordanian security service and his CIA superior (a very snaky Russell Crowe). There's quite a lot to take in during the early stages of this movie and there's some well staged action scenes.
  • comment
    • Author: LoboThommy
    Does trust go out the window in the time of war? It's the question the audience may ponder during the course of this film where it seems that even those on the same team aren't always working in each other's best interests.

    Leonard DiCaprio stars as Roger Farris, a CIA agent who is seeking to capture a terrorist in Jordan. Farris is in constant contact with Ed Hoffman (Russell Crowe), a US government official with no respect or time for Farris' calls to work with Jordanian officials to solve their case.

    After a mishap jeopardizes Farris lead, he teams up with Hani (Mark Strong), a charismatic and enigmatic, Jordanian covert operations official.

    What follows is the push and pull between the three men's methodology on capturing the terrorist.

    While "Body of Lies" is definitely a product of a post-911 world, it does not feel like the numerous post-911 political thrillers such as "Syriana" due to it's subtlety. It's more of spy thriller with a cautionary tale on America's foreign relations mixed in.

    One minor complaint is the pacing of the film. There are a few stops and starts as Farris deals with the reality of the effectiveness of his enemies. As he adjusts his plans it feels as if the story starts back from the top.

    But the performances are excellent from DiCaprio; who is the only actor his age who could tackle this role with the any type credibility and depth. Crowe and Strong, down to Golshifteh Farahani as Aisha, the nurse DiCaprio is drawn to and especially Oscar Isaac who plays Bassam, DiCaprio's go-to guy for information.
  • comment
    • Author: Ral
    Films involving 'current events'--particularly those relating to anything happening in the Middle East and Terrorism--tend to be soaked in the writers', producers' and director's politics, which usually end up very much in-your-face and spoil the film, because you suddenly lose the story and drown in the preaching and proselytizing.

    Ridley Scott, who has already addressed the West-East/Christianity-Islam issue in a previous film, 'Kingdom of Heaven', this time bit the bullet (instead of the sword) and continued KoH's story about 1000 years later. 'Body of Lies' is very much a Ridley Scott movie and this translates into the film's politics as well. Thing is, you can't leave politics out of a political movie; and so what do you do? Well, here's a newsflash for the poli-preachers on all sides: it's possible to have it all, and just watch Ridley Scott do it. Just like KoH, it's all about even-handedness and realizing that (1) every side in a conflict has a point of view, which, to itself, is perfectly valid; and (2) every side has people you'd probably like and some you really wouldn't, (3) the way to peace lies with understanding (1) and (2); and not with having just one point of view, no matter how righteous it may appear. Both, Islamophobes and Islamophiles--or those on the extremes of any aspect of the political spectrum--will probably find ample elements to dislike about this film. Others of a more moderate and even-handed disposition will find much to like and appreciate.

    All of this, rather profound, stuff is wrapped up in a gritty Ridley Scott production and direction, that keeps your full attention for its full 2+ hours. Leonardo DiCaprio has really grown up and cast off his annoying persona, which was so prominent in just about all his movies; until 'Blood Diamond' came along. Russell Crowe is basically a secondary character, eclipsed almost completely by DiCaprio and Mark Strong. The latter has come a long way since I first saw him in the BBC production of Jane Austen's 'Emma'. The gentle and understated romance element provided by Golshifteh Farahani as 'Aisha' provided a nice contrast to the testosterone-soaked male world in which this drama plays out.

    The movie confirms what I've known for a long time: Ridley Scott apparently can do no wrong.
  • comment
    • Author: Drelahuginn
    I have really liked Leonardo DiCaprio's films since he came back from his hiatus (esp Blood Diamond). However, this one was quite forgettable. I enjoyed the movie when I was in the theater and left thinking "Huh. That was pretty good". But the week after someone asked what movie I saw and I couldn't remember. It reminded me a lot of "The Kingdom" actually (the feel, not the details). It was a very well made film, dialog and script were good, just nothing really stood out and grabbed me. Leo was the shine, he is such a talented actor and I was happy to see him in a great role. I just wish the plot had something fantastic in it to make it into a great film.
  • comment
    • Author: in waiting
    Amidst all the slam-bang, Body of Lies is actually a superb character study of two preening, bumbling CIA (presumably) agents trying to save the world in the Middle East. Roger Ferris (Di Caprio) is the agent on the ground, and Ed Hoffman (Crowe) is his remote-control boss in Washington. Their collective M.O. is to overreact and improvise at every turn, aided and abetted by their deep attachment to high-tech gadgetry and fundamental disregard for human lives. Their ally and foil, the Jordanian head of intelligence (Mark Strong), prefers more patient methods informed by a less skin-deep understanding of the people(s) involved.

    All three are trying to penetrate and take out a shadowy, violent Islamic fundamentalist group and its leader. The plot is serviceable, the elements familiar, but it all works well to coax out Scott's and screenwriter William Monahan's critiques of the American way of unconventional war in the Middle East. The movie itself is funny, visually fine (Scott's touch hasn't deserted him), and engaging. Its center is the uneasy but highly entertaining partnership between Di Caprio and Crowe. At times verging on pure comedy (their semi-serious macho argument over which of them could beat up the other 10 years ago is a high point), the film never tips too far in this direction thanks to the two actors' easy skill and Scott's sure hand at maintaining a certain tone.

    Is Body of Lies an antiwar statement? I don't think so - it's possible Monahan and Scott even think the Americans' grotesque imperial venture has a chance, if only they could learn a few lessons from the likes of the self-possessed Jordanian. But this seems unlikely. At the beginning, Crowe makes the very good point that it's precisely the Americans' mastery of (by?) their high-tech appurtenances that makes it nearly impossible for them to see their foes, who use much more down-to-earth techniques - like passing instructions by word of mouth. He then proceeds to ignore his own advice throughout the movie. Di Caprio rips into Crowe for his disregard of the lives of their local operatives, then goes on to thoughtlessly place in mortal danger an architect and an Iranian refugee nurse with whom he's infatuated.

    They just don't learn. If they did, they wouldn't be who they are: the gallant spreaders of justice, democracy, and casual calamity. If that's what Scott and Monahan are trying to tell us, it's antiwar statement enough, the same news that Graham Greene brought us over 50 years ago with The Quiet American, updated and just as pertinent.
  • comment
    • Author: Nettale
    V. well-made; everyone from the cast and crew pulled their own weight in Body of Lies.

    Director Ridley Scott's genius shines through what could have been another unpalatable, trite topic of the US' relations with the Middle East and terrorism. He expertly unravels the story of CIA operative Roger Ferris (Leonardo DiCaprio) who is assigned to flush out an evasive terrorist who is blowing up public places all over the world. Ferris is increasingly frustrated with his boss Ed Hoffman (Russell Crowe)'s impatience and double dealings, which more than once puts himself in jeopardy, challenges the trust he is trying to build with Jordanian leader Hani (Mark Strong) and his budding romance with the pretty Palestinian nurse Aisha (Golshifteh Farahani).

    DiCaprio just keeps getting better and better as he is now more able to lose himself in a role and successfully shed the pretty. Crowe does well in an understated but dangerously quiet role as a Washington-based puppetmaster. The versatile Italian-Austrian Andy Garcia-lookalike Strong is fantastic as the powerful Hani, while Farahani's face lights up the screen and turns in a memorable performance as well.

    The attention to detail in this movie is just awesome; the action sequences are not over the top but satisfactory enough to not lose the main storyline despite the complex thread of subplots. Overall, an engaging, intelligently-made film.
  • comment
    • Author: Tat
    One of the Greatest Directors of All time has picked a touchy subject for his newest film. Did Rid pull it off?

    Body of Lies is a smart political thriller on the state of some of the world's debacles,

    Some of the high points of the film were the action sequences which were very similar to the style of action sequences of "Black Hawk Down". The acting was also great. Personally i liked Crowe's performance more as a CIA head he was very dedicated to the role and put on 66pounds for it, he also had the Virginian accent down. But I thought that Leinardo DiCaprio was very similar to his role in the departed. (Watch when he is talking on the phone you will see what I mean) The cinematography was Grade A also.

    But the thing that impressed me most was the way Ridley Built up the story and tension not knowing who to trust, (obviously one of the themes of the movie) this brought me back to the days of "Alien" with the slow building atlosphere which made "Alien" one of the most respected films of all time. It was also a balanced look at the Iraq situation as it wasn't following the Anti-America trend but it also wasn't trying to justify the war. It also will leave you thinking about the current events long after the credits have ended.

    All in All through great shots, Acting and Direction make "Body Of Lies" a hit and can be put on Ridley Scotts list of Greats on his CV.
  • comment
    • Author: Watikalate
    The craftsmanship behind director Ridley Scott's 2008 convulsive political thriller is impressive, but having acts of terrorism drive an intentionally labyrinth plot reveals how they impede the story structurally, an insurmountable barrier that screenwriter William Monahan ("The Departed") can't seem to overcome. The movie's first half is all the more bewildering for all the double-crosses and cover-ups that serve to set up the central situation. Based on Washington Post columnist David Ignatius' 2007 novel, the movie focuses on embedded CIA operative Roger Ferris who is on an undercover assignment to hunt an Al-Qaeda terrorist leader named Al-Saleem. Ferris is not entirely alone as he is connected via cell phone with his stateside boss Ed Hoffman, who is the head of the CIA's Near East division and directs Ferris toward life-threatening tasks in a most nonchalant manner from his upscale suburban home.

    The plot's impetus is driven by the elusive Al-Saleem's unblinking series of suicide bombings in Europe in response to the invasion by US and UK troops in Iraq and Afghanistan. The movie gets more interesting when Ferris decides to work with Jordanian intelligence director Hani Salaam, an erudite, enigmatic figure who is well entrenched in the Middle East militia and appears to take a page from Mario Puzo's "The Godfather" when it comes to loyalty and betrayal. Of course, it's a matter of course that Ferris' loyalty is tested when an elaborate plan is hatched to create a bogus competing terrorist group and use an unwitting Dubai architect as the head. The other complicating factor is that Ferris has fallen for pretty Iranian nurse Aisha when he gets treated for possible rabies at a clinic. It becomes inevitable that she also becomes a pawn in the political intrigue. Scott paints his canvas with a lot of graphic violence from large-scale bombings to more intimate acts of torture.

    All of the external elements are fitting, but they can't seem to masquerade the convoluted and often cliché-ridden plot at the film's core. A solid cast goes a long way to compensate for the plot holes. As Ferris, Leonardo DiCaprio applies his trademark wiry energy to an intensely compelling performance that could have shown a bit more variety. Adding fifty belly-stretching pounds to his frame, Russell Crowe, Scott's favorite leading man ("Gladiator", "American Gangster", "A Good Year"), plays the Arkansan Hoffman as a scene-stealing character part. The irony is that the Australian actor's Southern accent is more convincing than DiCaprio's. Their antagonistic interplay, played out mostly on the phone, is rather predictably developed. Fetching Iranian actress Golshifteh Farahani provides gratefully calm relief to the ongoing mayhem as Aisha, although her character comes across as a mere plot device. There is a nicely fractious dinner table scene with Ferris and her judgmental older sister, although the movie plays down the more human-size hostilities in favor of the pyrotechnics.

    As Hani, Mark Strong ("Sunshine", "Stardust") leaves the most vivid impression of the cast but for the most old-fashioned of cinematic reasons - he plays what could be a villainous figure as a suave, mysterious man of honor who is completely on top of his job, an intentional counterpoint, at least physically, to Crowe's slovenly Hoffman. The film's resolution defies credibility, but it finally becomes clear that Monahan is not interested in exposing the factors that have driven the Middle East political maelstrom into acts of escalating terrorism. Rather, his screenplay shows that testosterone-driven Hollywood-style entertainment can take place anywhere.
  • comment
    • Author: Skyway
    Ridley Scott has always been very consistent in my mind as a filmmaker. He has occasional flashes of genius (Alien, Gladiator), but always seems to make steady, good, interesting, and watchable films. The same applies here with Body of Lies. While the film will not be this year's major awards contender, Body of Lies is among the better films by Scott, somewhere between American Gangster and Black Hawk Down.

    One thing Scott always manages to do in his films is ground the film in reality very well, setting a mood that allows us to get into the film easier. While it has its dark moments, I wouldn't consider this a supremely dark or depressing picture, despite the subject matter. In Body of Lies, his take on the War on Terror in the Middle East is gripping and realistic (especially the sets), though not as thrilling as it should be. Though put in danger many times throughout the film, I didn't find myself on the edge of my seat whenever those moments rolled around.

    As we already know, the film features two of the most dynamic and talented actors working today in Leonardo DiCaprio and Russell Crowe. Here, Scott gives his usual tag team partner Crowe a break to let DiCaprio take the reigns. Leo has long been one of my favorite actors for his ability to bring intensity and grit to every role he plays (outside of Titanic and Gilbert Grape, of course), making real and believable characters time in and time out. Again, DiCaprio steals the show and makes the movie watchable, as he's in almost every scene in one way or another. Without his commanding and charismatic presence, the film would sink. He delivers yet another winner of a show, showcasing his ability to grow into even more adult roles as he grows older. His role in the film is strikingly similar to his position in his career. He's in between young heroic roles and adult authoritative roles, which is what his Roger Ferris is: a young CIA agent dealing with new found authority and choices.

    Though on paper, Russell Crowe's role is pretty weak, he manages to turn in a great performance through an altered appearance and voice. Once again, Crowe's character symbolizes who he is as a person: a shaken soda bottle one twist from exploding. It is because our two leads (I feel weird saying that, as DiCaprio is the only true lead) work so well together and hold our attention so well that the film succeeds. An able supporting cast adds to the film as well.

    Technically well made, just like every other Scott films, Body of Lies brings nothing new to the table while taking things we've seen before and one-upping the last to do it. The sound in particular was a plus for me, as was the art direction (like I've said, these are always good things in a Ridley Scott film). The preview can be a bit deceiving in marketing the film as an action political thriller, like Blood Diamond, when in reality it is the thinking man's thriller without that plot twist I thought would be coming. While the film does have some marvelous and well done action, it's few and far between, as the film is more about gathering intelligence than intelligently blowing everything up.

    I also appreciate that the film rarely dragged or got boring, and I credit this to yet another winning script from William Monahan, scribe of The Departed. I think another Oscar nomination for Monahan is possible here. All in all, Body of Lies is a well made film that would be nothing special (again, the lack of thrills in some parts) if not for the commanding presence of Leonardo DiCaprio and the always consistent Ridley Scott. It's not worth losing your head over, but it is worth giving the price of admission to your local theater.
  • comment
    • Author: the monster
    Political thrillers are not really my bag to be honest - I watch them but do I enjoy them? Not really. So it needs to be a very special type of movie for me to give it the thumbs up. Body of Lies is not that special.

    DiCaprio is a good actor - you have to give him that - but I am not so sure about all his film choices. Of course he ain't gonna get them all right so I need to give him some slack - but this one falls on the wrong side. He plays a CIA man in the Middle-East and essentially his plot point boils down to him on the trail of a hard to find terrorist bad guy. There are other complications in his way of course - explosions, double-crosses, car-chases and even love - and the plot permeates through all these items slowing everything down to a grinding halt.

    Crowe plays a soccer dad, CIA HQ man calling the shots from his earpiece, computers and satellite imagery. Neither Crowe nor DiCaprio do a bad job per se - but their very limited shared screen time bogs the film down. To be honest the whole thing is too complicated, too complex and - a word NO film-maker wants to hear said about his movie - dull. The plot is hard to follow and I felt myself looking at the movie and watching it for what it was - but not really understanding what the hell was going on? Throw in some Arabic dialogue and hey presto - total confusion.

    There is one good thing to come out of this though - Mark Strong's performance as Hani Salaam is impressive. His scenes with DiCaprio are - for me - the highlight of the movie and his dark, polite yet menacing presence throughout the film is testament to his fine acting. I've never heard of this guy before, but he looks like one to watch. Overall - the complex nature of the plot means there are a few scenes thrown in here that practically explain to the audience what is going on. This - although required as I guess half the audience won't know what the hell is going on - further slows everything down and looks contrived. Even DiCaprio himself looked like a guy playing the scene against his better judgement. In the end Body of Lies is a messy affair that turns into an uninteresting, muddled, tedious couple of hours. It's always a bad sign when you just want the film to end - and the sooner the better. The ending by the way is pure Hollywood - contrived and a nick-of-time rescue thrown in for good measure.

    Scott too has to take a lot of the blame here - after all he is both producer and director. His flashy style gets a little tiresome after a while and even though he is a world away from his brother Tony's quick-cut editing, he seems to be getting closer to him rather than further away. Although the production values are spot on, the locales suitably impressive and authentic - the formula for these type of movies lends itself to global manipulation of governments and also grandiose, complex plots thus dragging the enjoyment factor way down.

    Body of Lies is a quickly forgettable film. 5/10.
  • comment
    • Author: Kiaile
    In a role that's tailor made for his preening, self-involved public persona, Leonardo DiCaprio plays an intense CIA agent who doesn't play by the rules in his fight against terrorism in the Middle East. Russell Crowe is his slovenly Langley-based boss. The overly complex plot in Body of Lies is often ludicrous, with cardboard characters and a heavy-handed tone that attempts to paint a complicated situation in black-and-white terms.

    DiCaprio plays Roger Ferris, an undercover agent stationed in Jordan who also happens to be going through divorce proceedings. Crowe is Ed Hoffman, his middle-aged stay-at-home handler who talks to his agent while shepherding his kids to soccer games and the like. One is directly involved with covert operations; the other manges the operations from a distance, both physically and emotionally. Naturally, this distance causes problems in their working relationship, for how can Hoffman be able to tell Ferris how to handle things if he's too far away to get a feel for the situation? Ferris gets a lead on who might be behind some recent terrorist attacks, so he decides to become friendly with the head of Jordanian intelligence, Hani Salaam (Mark Strong), hoping to use Salaam's connections to help land his target. Ferris prefers a subtle approach when dealing with citizens of foreign lands; embrace the culture and speak the language, and the people will be more amenable to helping you. Hoffman prefers the more stereotypical American approach of rushing in, demanding, raising heck if demands aren't met. Such conflicting styles are bound to create...conflict.

    The ultimate problem here isn't really the plot, however convoluted it is and no matter how many red herrings abound. The problem is DiCaprio himself, an actor who seems hellbent on proving he can act by being as intense as possible at all times. They're not the same thing. DiCaprio, as is his wont, plays a character who is always trying to do the right thing but makes dumb decisions along the way. Which is fine if you're a wooden action figure like Rambo, but it's pointless if you're in a heavily plotted espionage thriller. DiCaprio is a movie star, not an actor, and putting various cuts and bruises on his pretty-boy face will change the fact that he's simply not up to the heavy lifting.

    In fact, although I'm not much of a Matt Damon fan, the truth is that Damon would have owned this role - had he not already played it, basically, in the Jason Bourne films. Which means that essentially, this is a cheap knockoff of the Bourne films themselves, except with fewer action scenes and even more high-tech gadgetry.

    Here's something to look for: Ferris's girlfriend, a nurse played very well by Golshifteh Farahani. She's pretty, of course, and Ferris - in the middle of all this running around undercover in Jordan and elsewhere in the Middle East - woos her, speaking Arabic and observing all the customs of her culture. First of all, you know as soon as they make cute eyes at each other that at some point she'll be kidnapped or killed or something, and he'll have to rescue or avenge her. Second, I found it interesting that while he's ostensibly undercover - an American in the Middle East normally sticks out a little - he doesn't seem to notice that people notice HIM interacting with her. If I'm a secret agent, the last place I'd look for a relationship is in the same exact spot where I'm trying to be a secret agent, because if the bad guys figure out I'm not on their side - always a possibility - they will also easily figure out that they can use my relationship partner against me. That would be stupid on my part, and it's unbelievably dumb on Ferris's part.

    Skip Body of Lies. Crowe is mostly wasted in a showy, slight role anyway, and DiCaprio is hammy, one dimensional, and vapid. Ridley Scott should have passed on directing this so-called political thriller and stuck to more straightforward action movies like Gladiator.
  • comment
    • Author: Naril
    Body of Lies is a story about a CIA operative played by Leonard Dicarprio and his boss, Ed Hoffman, played by Russell Crowe. Crowe gained about 40 lbs to play the middle-aged supervisor Hoffman who spends a good deal of time on a cellphone from CIA Headquarters in Langley, Virginia talking with Dicaprio's Roger Ferris who shuttles around the Mideast, principally in Iraq and Amman, Jordan. Ridley Scott, the director, makes use of pinpoint satellite images throughout the movie, suggesting that the CIA has the ability to spy on various targets closeup through the use of overhead drones. It's very cool looking but can they actually do that? I wonder.

    Body of Lies is divided into three sequences, the first taking place in Iraq where Ferris attempts to make contact with an Iraqi who may or may not have information about Al Qaeda. The informant's cover is blown and Ferris is forced to shoot him to prevent the informant from being tortured and revealing Ferris's identity. The first sequence ends in an exciting shootout with militants in a rural area where Ferris obtains information regarding a safe house in Amman, Jordan.

    The second sequence involves Ferris taking over CIA operations in Jordan. He meets with the Jordanian intelligence chief, Hani Salaam, played by the British actor, Mark Srong. Hani is depicted as urbane, highly competent and ruthless. He denies 'torturing' informants and when Ferris is brought in and observes them beating one of their own agents who hasn't followed orders, Hani tells Ferris that the operative is merely being "punished" not "tortured". Where Hani is smooth and calculating, Ferris's boss, Hoffman, the CIA chief, is depicted as impulsive and arrogant. He demands that Hani allow him to interrogate a contact, Karami, at the safe house who is already known to Jordanian intelligence. Hani adopts a patient approach and is content to leave Karami at the safe house and pry him later for intelligence.

    After a terrorist bombing in Amsterdam, Hoffman feels compelled to get "results". Without telling Ferris, he orders some of his operatives to tail Karami. Somehow Karami's cover isn't blown but it's enough for the militants at the safe house to set it on fire and flee for parts unknown. Hani is angry at Ferris who denies knowing anything about what happened and is ordered out of Jordan.

    The third sequence is the most implausible and weakest part of the movie. Hoffman and Ferris meet and Ferris comes up with an absurd plan to capture the terrorist they've been after, Al-Saleem. Inexplicably, Ferris, who has been opposed to Hoffman's amoral and impulsive methods, outdoes Hoffman when he suggests that they invent a terrorist to make Al-Saleem jealous. With the aid of a computer geek employed by the CIA, Ferris focuses on Omar Sadiki, a hapless Jordanian architect who is set up to be the next Bin Laden. Incredibly, they're able to convince Turkish officials to desecrate corpses obtained from a local morgue and use them as part of a plot to simulate a terrorist attack on an US Military facility. Meanwhile, Ferris has a change of heart and finally realizes that Sadiki is at risk to be killed by terrorists. After the simulated terrorist attack, the plot goes awry and Sadiki is killed by terrorists when they realize he's a harmless dupe.

    I haven't mentioned that there is a romantic subplot in this movie. Ferris falls for an Iranian nurse, Aisha, after she treats him at a local clinic for dog bites. At the climax, she disappears and appears to be kidnapped. Ferris meets with the kidnappers who turn out to be Al-Saleem and his henchmen. As it turns out, the noble Hani was the one who grabbed Aisha all along and used Ferris so he could lead him to Al-Saleem. In a harrowing scene, Ferris is almost beheaded by Al-Saleem's goons but in pure Hollywood style, Hani and his agents burst in and prevent Ferris from being killed. Al-Saleem is also taken into custody.

    In reading some postings on the internet, some residents of Jordan feel that 'Body of Lies' maligns their dear country. This I can't understand; true, not all the scenes depict the natural beauty of Jordan but hey this is a movie about terrorism and not a travelogue. What's more, Hani, is the real hero here—intelligent, smooth and cool-headed (one who 'punishes' and doesn't 'torture'). Unfortunately, the CIA once again gets short shrift. Just like in 'Traitor' and The Bourne series, the CIA are either bumbling idiots or Machiavellian schemers (or both).

    Body of Lies has some nice cinematography and its greatest asset is the depiction of the Al Qaeda wannabe, Al-Saleem. He looks and sounds like the real thing and Ridley Scott correctly doesn't sugarcoat his terrorists. DiCaprio has a nice speech condemning Al-Saleem and his minions right before he's about to be beheaded.

    Despite this, Body of Lies errs in sugarcoating the Jordanian intelligence service at the expense of the CIA. Are they so much better than the CIA in real life? I think they're built up in order to shoot the CIA down and it doesn't ring true. Furthermore, Body of Lies features the ugly suggestion that the CIA would take an innocent man and set him up to be killed by terrorists. Of course if you're a conspiracy theorist, then you'll believe the CIA is capable of anything. Body of Lies is a mildly interesting spy thriller. It's worth viewing once but due to its implausible moments and somewhat anti-American bent, I wouldn't watch it again.
  • comment
    • Author: Monn
    CIA Agent Roger Ferris (DiCaprio) is on the trail of those responsible for bombings in London and Amsterdam. He coordinates his actions via cell phone with his boss Ed Hoffman (Crowe).

    If you want to see two top movie stars talk to each other on cell phones for most of the movie, this one is for you. This movie kind of reminds me of Righteous Kill with DeNiro and Pacino in that we have two very big stars with no place to go. Same thing here. There is no suspense, no tension in most of this "thriller." We do not care who gets killed, or caught and we are not sure who are the good guys and who are the bad guys and I say this because of the title of the movie. Oh, I mis-spoke, there is some tension and suspense when some people get to be tortured including Ferris near the end of the movie. No one needs to see the torture or hear the screams even if it's just movie magic. Is that why some say this is a good movie? It's not. It is a complete waste of time.

    The acting by all is good and DiCaprio tries to make this a good story, but Crowe appears completely bored by it all as it's just not his cup of tea. Not mine either. And, the cinematography while good still leaves us with too many dark, hard to see what's going on scenes. Not good. Anyone ever hear of a light bulb? The scenes do not have to be that dark. Oh, yes, they are dark for effect. Hmmmmm…………

    The love interest with Ferris and Aisha (Farahani) is contrived so the girl can be kidnapped to get Ferris to do whatever it takes to get her back. Real clever, don't you think. Give me a break.

    I need to find out what telephone service Ferris and Hoffman used. It was like they were just in the next room talking to each other while the movie shows one in DC and the other in Jordan.

    Violence: Yes. Sex: No. Nudity: No. Torture: Yes. Language: Yes
  • comment
    • Author: Paxondano
    I watched "Body of Lies" the other night for the first time since having seen it in the theater. This is a well made film that just barely misses the mark of being outstanding.

    Russell Crowe is good in this movie, and it's arguably one of the few Crowe movies in which he transforms into his character rather than simply playing himself. DiCaprio is good enough, though he definitely suffers from his ongoing inability to play a character rather than being stuck in his same old mannerisms.

    The plot of this movie is quite intriguing. It's a film that revolves around post-9/11 terrorism in the mid-east, with most of the movie taking place in the very places that make the news the most some eight years later: Iraq, Syria, and Jordan. Sadly, the movie predicts the spread of terrorism to Europe (it was filmed after the 7/7 bus bombings in London, and references them, but shows an attack in Amsterdam that brings to mind recent attacks in Paris and Brussels). Its fictional drama mixed with real world terrorism makes for a compelling story.

    Unfortunately there's just something about the movie that makes it obvious that it misses the mark just a tad. It might be argued that the studio was trying a bit too hard to make an Oscar worthy picture, but didn't quite pull things together enough. The romantic element of the film feels a bit forced, and despite its strengths it comes across as being a bit more like a made-for-TV drama series than an award worthy feature film.

    All in all I'm going with 6/10 stars. It's certainly worth the time to see, but ultimately a good popcorn flick rather than a more substantive film.
  • comment
    • Author: 6snake6
    I agree that the acting was quite good here, and some of the plot was intelligent and interesting, particularly the Hani character. Ferris' moments with Hani are the only elements that support his emotional conclusion - you can see his respect for the culture come through. But this should have been supported by more positive modeling from the local characters.

    But overwhelmingly I could never escape a "give me a break" factor for Ferris' easy movement around enemy territory and his magical ability to take out huge numbers of foes unscathed (at least for the first 2/3 of the movie). And the ending was completely unconvincing. Really? He's going to stay there? Why - because he's been treated so well in the country? Even "don't lie to me" Hani has been lying and manipulating him.

    His relationship with the girl is never established. It's like he decides "I think I'll fall in love with her", because nothing she says or does would seem to explain the emotional bond that drives him at the end. She never really seems to show much affection or concern towards him beyond her professional duty as a nurse (and you have to wonder how well he's going to be received at the end, after putting her life into danger - particularly by the sister/guardian).
  • comment
    • Author: wanderpool
    Maybe being a government bureaucrat is not the most glamorous way of making a living but it's still a way to make a living. However, after watching this movie, one may come away believing that every government bureaucrat is a lazy, bloated, conceited, paper pusher who lives exclusively to partake of his next lunch break. Not exactly a pretty picture, but this is the picture that the audience has to endure when watching what is nothing more than another tedious, noisy, overacted action movie. Just what the doctor ordered ... right? How many more of these movies has Hollywood made? One thousand? Two thousand? The formula for making these movies is so beaten into the dust that by now it should be completely unrecognizable. The locales change but the plots remain the same, and with the same shallow character development and the equally shallow acting as trained performers are asked to devolve into pseudo-cartoon characters and act accordingly. This movie seemed to run-on interminably. "When will this movie end?" I repeatedly thought to myself. Leonardo DiCaprio was totally unbelievable as a CIA operative, but what has to be one of the great gaffs of miscasting, an overweight Russell Crowe plays a CIA bureaucrat. Please note that in this movie the on site operative is "lean and mean" while his desk jockey supervisor is fat. This is called stereotyping. What was the casting director thinking? Why not have Jack Nicholson play an overweight office clerk? Or Nicole Kidman play a frumpy department store saleswoman? And the story was so fantastic that no amount of literary license could afford it credibility. An obviously non-Arab American (Mr. DiCaprio) trying to pass himself off as an Arab ... speaking fluent Arabic ... concocting all kinds of hair brain schemes that are doomed to failure ... trying to out think and outfox real Arabs who are completely unfooled by his laughable Arab masquerade ... trying to romance a Palestinian woman while in the middle of conducting a highly sensitive and complex espionage mission ... etc. By now you get the point. Next time try casting an actual Arab in the role. Not even the most naive movie goer can believe all that. There should be a rough balance between the protagonist and antagonist. In this movie the protagonist is so transparent and incompetent that it leaves the story in shambles. Next stop for this movie - DVD land and oblivion. And one other thing. Don;t let this movie discourage you from working for the government. The pay may not be great, but the fringe benefits are excellent, a critical fact that this movie conveniently omits.
  • comment
    • Author: Mettiarrb
    Body of lies is OK, but that's about it. Maybe i'm just stupid, or maybe I'm just put off by political movies so much that i lose concentration. The film seemed to jump from one plot to another and i didn't really understand what was going on... or why. The first 30 minutes are interesting. The action and storyline are gripping to watch. But after Dicaprio's friend is smashed to 'pieces' in a car crash, i had no idea what was going on. the final 30 minutes started to make sense - the CIA setting up some people with mild terrorist connections into a fake terrorist group so they could infiltrate the big bad terrorist. But I still struggled to make sense of how they went about it and how it fell apart. And couldn't that have been the plot for the whole movie? it sounded good enough and it was the part of the film that made me think 'aahhhhhhh' But what i ask myself is, what the hell happened before all that? If political propaganda is your kind of thing, then check it out. If not, stay away from this movie.
  • comment
    • Author: Quellik
    Finally an above average political thriller that is effective and surprisingly politically neutral. That's not to say it won't irk those on the far reaches of either aisle in addition to the always irritable Iranian government. But, Body of Lies is a plot driven espionage thriller that demonstrates the basics of what Western intelligence has done right and wrong in the post 9/11 era without being preachy or shoving too much at the audience.

    The movie follows Roger Ferris (Leonardo DiCaprio), an operative trying to gather intel on Islamic terrorist cells to get to the head: Al- Saleem. He works closely with local contacts wherever he goes, only to find that his boss, Ed Hoffman (Russell Crowe) finds them useful but disposable. After losing such a friend in Iraq, Ferris travels to Jordan to head up the U.S. Intelligence operations there. In Jordan he befriends Hani (Mark Strong), the head of Jordanian Intelligence, who places more value on patience and trust than speed and technology.

    Anyone who read the title of the movie can guess the basics of what happens next: Ferris gets caught in a web of lies, some created by him, some by his boss, and he struggles to do the right thing and break free from all he has constructed. The lies are actually relatively simple and easy to keep track of. There isn't betrayal upon betrayal which so many movies get caught up in these days, but the pacing does suffer due to a plot that forces itself to be intricate when it would be better served by simplicity.

    There is a point about halfway through the movie where Ferris comes up with the idea to construct a fake terrorist cell to challenge the cell they are going after. The idea isn't all that bad, but it basically restarts the plot instead of building it. The pacing of Body of Lies is suspect with plenty of these moments. Ferris doesn't seem to learn much from the err of his ways until the very end, so the characters, while compelling, are also stagnant for most of the movie.

    Still, the performances are excellent if not extraordinary. DiCaprio has established himself as the best young actor out there for quite sometime now. His command of different voices, different languages (I've never heard a southerner speak Arabic as well as he does in this movie), and different mannerisms make him a consummate professional. Crowe, in my opinion one of the top few actors working today, is underused in what is really a smaller role than what the trailers showed. I guess every Ridley Scott movie just has to have Maximus in it. The two biggest standouts are Mark Strong, who plays the Jordanian Intelligence Head just serious and slick enough to make you wonder what his interests really are, and Golshifteh Farahani, who is the first Iranian born actress to appear in a Hollywood flick since the 1979 Islamic Revolution. Incidentally Mrs. Farahani can't return to her native Iran until the court sees the movie and then decides what to do with her passport.

    Admittedly, the love interest of Aisha played by Farahani seems a bit forced. Are Ferris' feelings for a woman really the only thing that can humanize him and realize that maybe he hasn't been doing things the right way this whole time? Body of Lies does such a good job of injecting emotion into it's storyline unlike so many recent political thrillers (think Syriana, Munich, The Constant Gardner, etc.), that it is disappointing to see it resort to such means in an attempt to humanize Ferris and give his life some real meaning.
  • comment
    • Author: blac wolf
    Ridley Scott, Leonardo DiCaprio, Russell Crowe. Great names doing an unwise film. Boby of Lies isn't anything more than an American flick about terrorism. Althoug, there are some good aspects on it.

    I'm gonna focus this review mainly in the lacking aspects of the film. Here it goes: (i) there is a great amount of information shown, obliging one to pay very close attention to every single detail on the story, otherwise one will be lost and confused.

    (ii) the lack of criticism/position on the film. Personally, I couldn't understand if it was a story pro or against the "situation" of America in the middle east. Though there is some draft of criticism, as like as the scene where the character of DiCaprio makes the distinction between the American bureaucracy (personified in the character of Russell Crowe) and the American State, it is weak and insufficient. In this point of view, the film cannot be compared to the much better "Shooter", for example. And I'm not saying that the film should have a position against the war. It's genuine and democratic to be in favor of it, if it is what you think. The film, although, doesn't show any position.

    (iii) the obviousness of the story, in which the "American soldier" is saved in the last minute and solve all the situation in his favor, with some help of a middle east group that really need the support of USA. Also, the love (?) story between the American and the "exotic foreigner", with no reason at all.

    However, I like to mention the good aspects of the films, even of those I dislike. In this one I would highlight: (i) the amazing action scenes, like that one in which the cars are persecuted by the helicopters – Hollywood is becoming better in it day by day.

    (ii) the actors Leonardo DiCaprio, Russel Crowe and mainly Mark Strong.

    (iii) and the fact that the couple of the film didn't kiss each other. There was a flee from the cliché scene which gave me hope for next Hollywood films.
  • comment
    • Author: riki
    There are many mistakes in the movie. Most of the locations are clearly not correct and don't look anything like the real places. Parts of the movie were shot in Jordan, however the car license plates that were shown in some scenes are Saudi Arabian license plates and not Jordanian. The airport shown a couple of times in the movie is clearly not Amman Airport, it's some other airport. The Jordanian / Syrian border (Diraa) looks NOTHING close to the actual border. It is shown as an unpaved road with just a couple guards standing at a checkpoint were in fact it is a relatively large border with a couple of buildings and a PAVED 3-lane highway leading to it from both sides! I was surprised that the people who made such a movie with all the money and effort that was put into it, failed to pay attention to such details. Overall, the movie was a pretty good, but the mistakes could've easily been avoided.
  • comment
    • Author: adventure time
    Hard to figure out why this tedious "thriller" is getting such a high rating. The cinematography of course is a very high standard, but the action largely consists of SUV's screeching to a halt in various urban and desert settings. In fact, A.O. Scott in the NY Times pretty much nailed this as a mediocre attempt that falls flat. Leonardo DiCaprio shows very little of the flair that made him compelling in Blood Diamond and Departed, though in fairness he is hampered by a hackneyed script. Russell Crowe, meanwhile, literally phones in his part in the now-familiar role of the comatose control who practices realpolitik.

    The plot stumbles on to a predictable Hollywood ending that's neither surprising nor thrilling through some unlikely plot devices like a CIA station chief politely courting an unvetted refugee in Jordan or same agent trying to pass as an Arab while enunciating his Arabic with a North Carolina twang. Truly a weak effort from Ridley Scott.
  • comment
    • Author: Dream
    Body of Lies

    By Mike V.Derderian, The Star, February 23, 2009

    The title of this movie is an understatement; it should rather be "bodies of lies" piled up, not too far different from the photos of piled up Iraqi prisoners being humiliated and tortured by sadist marines and private US contractors at Abu Ghraib Prison in Iraq in 2003.

    Here is a quick rundown of its utterly clichéd storyline: Roger Ferris (Leonardo DiCaprio) is a CIA operative sent to "Amman, Jordan" to hunt down Islamist leader Al Saleem (Alon Aboutboul)—no, not Al Gore! Ferris' superior is hammy Langley officer Ed Hoffman (Russell Crowe). With the help of a very fictional and unbelievable Chief of Jordanian Intelligence, Hani Salaam (Mark Strong), Ferris goes after the terrorist cell stationed in Amman.

    No sooner had Amman flashed on the black screen the moment Ferris arrived, I saw a city that I haven't been living in for the past 26 years. Where have all the olive oil trees gone!

    The so called "Amman" scenes were shot in Ouarzazate and Rabat in Morocco. Hey, did we switch countries after the New Year—cause nobody told this Jordanian! One more thing, the American embassy in Amman certainly looks different. Last time I passed by it in Abdoun there was no stadium behind; it but it was still heavily armed.

    Did Scott ever come to Jordan! Mind you if there were any Jordanian efforts involved in making this banal film they should be prosecuted…period! By the way, the head of the Jordanian General Intelligence Directorate wouldn't pour coffee to a guest even if it was Leonardo DiCaprio; they have employees to do that and are quite hospitable if you ever had the pleasure of visiting them.

    The dialog is as hackneyed as it gets. Obviously some clever person in the production team realized that Golshifteh Farahani, Aisha, the "Jordanian girl" Ferris meets, looked more Iranian than Jordanian so they decided to throw the following line to be delivered by Ferris himself, "Are you Iranian? Your accent is Iranian?" The person, who wrote this cinematic debacle and bad PR, David Ignatius (novel) and William Monahan (screenplay) should be banned from penning another script for the rest of their lives.

    They shamed their craft. "Jordanian piece of Poontang"! Is this the proper way to refer to our Jordanian girls even if it is said by the most politically incorrect American operative-cum-character in cinema history. We might as well call every American girl we meet an easy score—trailer park-white-trash-redneck-ready for bedding bimbo.

    Aside from the fanatics, who helped distort our image in the West and vice versa, Scott did a fine job in hiding the magnificence and beauty of our Amman under non-existent piles of cinematic scenes…oops I meant trash.

    The artistic merits of this film are very minimal as is the accuracy of the research put into creating its storyline, architectural or geographical settings.

    "I and the public know what all school children learn: Those to whom evil is done do evil in return," is a quote by W. H. Auden which appears at the beginning of Ridley Scott's movie.

    When you blow up someone's house, kill his children and take his land away, he will certainly avenge himself—it is called resistance. No one dubbed the French resistance terrorists… except for the Nazis.

    My first question is: How did a movie that refers to our Hashemite Monarchy as "Towel Head Monarchy" get screened in Amman? According to the manager of a cinema in Amman it got edited and the edited version is available at the Audio Visual Commission (AVC)!

    Hollywood is renowned for discarding facts for fiction and any avid movie fan would know this and there are many movies that are filled with factual errors and fallacies that I will review in columns dedicated to this purpose.

    At the movies, one has to suspend his imagination the same way a trapeze artist suspends his partner; our hands are placed over our hearts in anticipation: When will he drop her? Body of Lies is the fallen trapeze artist and she is dead—no longer satisfied with spandex wearing and gun totting villains with over-sized brains before and since the 9/11 events Hollywood opted for the Arab villain.

    In the beginning we had Nazis (World War II era), Russians (Cold War era), Palestinians (Palestinian-Israeli conflict era), back to Russians (James Bond movies era), Arabs (with Arabic- English accents in True Lies era), Aliens (probably of Arab ancestry) and finally Islamic Jihadists (post 9/11 era).

    Mind you Hollywood always hires Pakistani and Indian actors to play us. Thanks to unknown Arab actors, who provide their voices in those films, such callous villains materialize on screen and are forever ingrained in the minds of foreign movie goers.

    One of the painful things to watch in Body of Lies is when Roger Ferris (Leonardo DiCaprio), the CIA operative sent to chase Al Saleem, meets up with Hani Salaam Pasha (Mark Strong), head of the Jordanian Intelligence in a place full of trash—mountains of human waste amidst chaotic edifices. If you've been to Jordan you know we don't have mountains of piled up trash. We also don't have flies—OK, now I am lying.

    Aren't you sick of American producers, who take our own stories, tragedies and eventful lives and turn them into no more than bodies of lies like in this movie!

    On a finale note: Dear Mr Scott, just because you were not able to secure a shoot at the castle of Karak for your Kingdom of Heaven, at a reasonable price, doesn't mean you have the right to trash my country the way you did with your Body of Lies.
  • Cast overview, first billed only:
    Leonardo DiCaprio Leonardo DiCaprio - Roger Ferris
    Russell Crowe Russell Crowe - Ed Hoffman
    Mark Strong Mark Strong - Hani
    Golshifteh Farahani Golshifteh Farahani - Aisha
    Oscar Isaac Oscar Isaac - Bassam
    Ali Suliman Ali Suliman - Omar Sadiki
    Alon Aboutboul Alon Aboutboul - Al-Saleem
    Vince Colosimo Vince Colosimo - Skip
    Simon McBurney Simon McBurney - Garland
    Mehdi Nebbou Mehdi Nebbou - Nizar
    Michael Gaston Michael Gaston - Holiday
    Kais Nashif Kais Nashif - Mustafa Karami
    Jameel Khoury Jameel Khoury - Marwan
    Lubna Azabal Lubna Azabal - Aisha's Sister Cala
    Ghali Benlafkih Ghali Benlafkih - Aisha's Nephew Rowley
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