---
title: "Body of Lies"
year: 2008
kind: "film"
canonical: "https://film.one/film/body-of-lies"
fi1m_id: "body-of-lies"
imdb_id: "tt0758774"
tmdb_id: 12113
wikidata_id: "Q578312"
fi1m_score: 60
critics_score: 55
critics_reviews: 19
published: "2026-10-05T05:51:10.858316+00:00"
updated: "2026-10-05T05:51:11.401517+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Body of Lies (2008)

Directed by Ridley Scott · 2h 08m · MPA R · Action, Drama, Thriller

## Identity

Body of Lies

- **Canonical:** https://film.one/film/body-of-lies
- **Type:** Film
- **Fi1m ID:** body-of-lies
- **IMDb ID:** tt0758774
- **TMDB ID:** 12113
- **Wikidata ID:** Q578312
- **Same entity:** https://www.imdb.com/title/tt0758774/, https://www.themoviedb.org/movie/12113, https://www.wikidata.org/wiki/Q578312

**Fi1m score: 60** · Critics 55 from 19 reviews

*In a sentence:* The explosions are efficient, but Mark Strong makes us sit up by staying perfectly composed

> Ridley Scott gives this espionage thriller enough force to hold our attention, and Mark Strong gives it some danger. But the crowded screenplay and thin personal drama make it a qualified choice for anyone beyond the genre’s regulars.

## Synopsis

Roger Ferris (Leonardo DiCaprio) is a CIA operator whose work involves terrorist violence, difficult conversations and personal danger. His dealings with Ed Hoffman (Russell Crowe) and Hani (Mark Strong) make judging people part of the assignment. Ferris tries to carry out an intelligence operation while navigating relationships in which other people’s intentions are difficult to read. Away from the job, a romantic relationship makes its own demands. The operation requires both action and negotiation, with Ferris trying to manage the immediate risks while deciding whom he can trust.

## Review

Ridley Scott’s *Body of Lies* is a capable espionage thriller that keeps making promises its screenplay cannot quite fulfil. There is enough urgency to justify an evening for those who enjoy the genre, but the film is too cluttered to become the searching account of intelligence work it seems to want to be. William Monahan gives the characters plenty to say and too little time to make it matter. The trouble is already apparent in the dialogue, which frequently mistakes professional jargon for useful information.

Leonardo DiCaprio works hard as CIA operator Roger Ferris, and that effort is useful: we believe in the strain even when we are less sure of the man. He gives the danger an immediate physical urgency, without resolving the uncertainty about what Ferris wants beyond the next demand of the job. Russell Crowe’s Ed Hoffman is a slyer presence, and their exchanges provide welcome friction. The two performances suggest a more absorbing relationship than the busy screenplay has time to explore.

Mark Strong provides the strongest reason to stay interested. As Hani, he brings such calm to his scenes with Leonardo DiCaprio that the other man’s exertions suddenly become more revealing. We felt properly uneasy during their exchanges; Hani’s composure makes every attempt to read him seem risky. Watching the actors respond to each other gives these scenes a tension that requires little assistance from the surrounding action.

Alexander Witt’s cinematography helps us read the action through bodies and distances, giving the violence an immediate force. Ridley Scott has a firm sense of where to put people when danger arrives, and the physical impact of those passages is hard to dismiss. Arthur Max’s production design gives the action credible surroundings, though the care spent on them makes the thin characterisation more noticeable. The film looks convincing well before its account of the people involved becomes persuasive.

Pietro Scalia’s editing keeps pressing ahead, but speed cannot make each new complication equally interesting. Following the plot begins to feel like work, especially when William Monahan’s dialogue gets tangled in the mechanics of the operation. Marc Streitenfeld’s music helps sustain the pressure, although we would have welcomed more room for the actors to generate it unaided. The scenes involving Hani suggest how effective a little restraint can be.

The personal material does little to help. The romantic subplot is too lightly developed to give Ferris much of a life outside his work, leaving Leonardo DiCaprio to supply depth through sheer commitment. A quieter relationship might have allowed the character to become more understandable, but the writing is impatient with that possibility. Without that material doing its share, the demands of the operation occupy space that could have made Ferris worth caring about.

By the standards of the espionage thriller, the disappointment is familiar: capable actors, serious subject matter, and an increasing dependence on conventional plotting. Ridley Scott can make the danger convincing, but the film’s attempts to explain its people are less assured. At 128 minutes, it has enough room to do more with both. Try it for Mark Strong and the bursts of action, provided unfinished character work will not spoil the evening.

*Fi1m score 60, published 5 October 2026.*

## What the critics say

The consensus on Body of Lies is mixed: the reviews find capable performances and technical polish, but less agreement that these make a satisfying political thriller. Praise clusters around Mark Strong’s controlled, unsettling presence and Leonardo DiCaprio’s energy, with even several detractors finding the actors stronger than the material. Ridley Scott’s handling of violence and action earns approval from some critics, though others find the staging detached or routine.

The spread is wide, with Den of Geek enjoying the excitement and DiCaprio–Crowe banter, while Variety argues that formulaic action squanders a promising premise. Reservations centre on confused or predictable plotting, thin character motivations and political observations that do not go far enough. Even favourable reviews question how much the film understands its subject; the sharper dissenters see its reliance on familiar thriller conventions as the reason it disappoints.

## Straight answers

**How long is Body of Lies, and what is it rated?**

*Body of Lies* runs 2h 08m and is rated R by the MPA in the US. It is an action and drama film.

**Where can I watch Body of Lies in the US?**

*Body of Lies* is available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service.

**What should I watch after Body of Lies?**

After *Body of Lies*, try [*The Battle of Algiers*](https://film.one/film/the-battle-of-algiers) (1966, Fi1m 93): For political violence examined closely, without the reassurance of a star-led intelligence operation. Then [*The Lives of Others*](https://film.one/film/the-lives-of-others) (2006, Fi1m 84): Surveillance becomes personal, with patient attention to the lives altered by listening.

### Reviews we read (19)

- **The AV Club**, Keith Phipps (B): Phipps finds the film solid and timely but ultimately less memorable than its promise. He praises its clear storytelling and Crowe’s sly performance, while faulting Scott’s polite distance from the action and human drama. [Read](https://www.avclub.com/body-of-lies-1798205002)
- **The Hollywood Reporter**, Kirk Honeycutt (70/100, inferred): Honeycutt finds the film an unsettling, largely convincing spy thriller, though its central character’s motivations are unclear. He praises Leonardo DiCaprio’s energetic performance and the film’s superb technical credits. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/body-lies-dicaprio-crowe-scott-125307/)
- **The New Yorker**, David Denby (70/100, inferred): Denby finds the thriller smart, urgent, and insightful, though it ultimately feels like a virtuosic exercise that cannot fully grasp its subject. He particularly praises Ridley Scott’s command of space and violence and the strong performances, especially Mark Strong’s and Leonardo DiCaprio’s. [Read](https://www.newyorker.com/magazine/2008/10/13/good-fights-david-denby)
- **RogerEbert.com** (64/100, inferred): The page content is inaccessible, so the critic’s verdict cannot be determined. No praise or complaint can be verified from the available text. [Read](https://www.rogerebert.com/reviews/body-of-lies-2008)
- **Screen Daily**, Mike Goodridge (64/100, inferred): The page identifies this as a review of Ridley Scott’s 2008 film, but the review text is unavailable. Its verdict and any specific praise or complaint cannot be determined from the accessible page. [Read](https://www.screendaily.com/body-of-lies/4041134.article)
- **The New York Times** (64/100, inferred): The review's verdict is unavailable in the accessible page. Its specific praise or criticism cannot be determined. [Read](https://www.nytimes.com/2008/10/10/arts/10iht-fmreview10.1.16810395.html)
- **Radio Times**, John Ferguson (3/5): Ferguson finds the political thriller underwhelming and less than the sum of its parts. He notes its star cast, Ridley Scott’s direction and William Monahan’s script, but says the promising combination does not deliver. [Read](https://www.radiotimes.com/movie-guide/b-3vek6d/body-of-lies/)
- **Time Out**, Trevor Johnston (3/5): The printed three-star rating indicates a mixed-to-positive verdict. The accessible page metadata highlights the high stakes facing DiCaprio’s CIA operator, but gives no specific praise or complaint. [Read](https://www.timeout.com/movies/body-of-lies)
- **Total Film**, Jonathan Crocker (3/5): The review finds the political thriller overloaded and undercooked, with DiCaprio carrying it while Crowe coasts. It praises Mark Strong’s screen presence and Scott’s explosive action, which propel a gripping final half-hour. [Read](https://www.gamesradar.com/body-of-lies-review/)
- **Slant Magazine**, Nick Schager (2/4): Schager finds the film’s political commentary undercut by dull thriller conventions and predictable plotting. He praises Mark Strong’s suave, dapper performance, while faulting the blandly staged action and melodramatic finale. [Read](https://www.slantmagazine.com/film/body-of-lies/)
- **Empire**, Ian Nathan (35/100, inferred): Nathan finds the film visually enthralling but ultimately garbled and badly in need of a coherent plot. He praises Scott’s striking visual style while faulting the impatient, jargon-heavy script and scattered subplots. [Read](https://www.empireonline.com/movies/reviews/body-lies-review/)
- **Evening Standard** (30/100, inferred): The critic finds the thriller hollow and unconvincing despite its slick urgency. DiCaprio and Crowe are praised for outstripping the material, while the plot and Roger’s characterization draw complaints. [Read](https://www.standard.co.uk/culture/film/body-of-lies-leaves-you-feeling-cheated-7410973.html)
- **The Guardian**, Philip French (25/100, inferred): French finds the film slick, shallow and simplistic, arguing that it adds little to understanding its subject. He singles out Mark Strong’s performance as the film’s redeeming feature. [Read](https://www.theguardian.com/film/2008/nov/23/body-of-lies-review)
- **Variety**, Todd McCarthy (10/100, inferred): McCarthy finds the film contrived and formulaic, with an overly conventional climax that undermines its promising premise. He praises the vivid scenes between DiCaprio and Mark Strong, while faulting the film for choosing Hollywood action conventions over a more absorbing, provocative story. [Read](https://variety.com/2008/film/awards/body-of-lies-1200471951/)
- **Den of Geek**, Christian Forbes (4/5): Forbes calls the film an exciting, enjoyable thriller and recommends seeing it. He praises DiCaprio’s sympathetic performance and the banter between him and Russell Crowe. [Read](https://www.denofgeek.com/movies/body-of-lies-review/)
- **Eye for Film**, Richard Mellor (75/100, inferred): Mellor finds the film a riveting, uneasy thriller, though he questions the pleasure of its entertainment value. He particularly praises Mark Strong’s sleek, unsettling performance as Hani. [Read](https://www.eyeforfilm.co.uk/review/body-of-lies-film-review-by-richard-mellor)
- **/Film**, Slashfilmcast (64/100, inferred): The podcast includes a review of Body of Lies, but the page does not reveal its verdict. It says the hosts turn an about-face on Ridley Scott, without identifying a specific element they praise or criticize. [Read](https://www.slashfilm.com/501000/filmcast-ep-21-body-of-lies-guests-kevin-buist-and-alex-billington/)
- **Digital Spy**, Simon Reynolds (60/100, inferred): The critic finds the film gripping and insightful but ultimately a slight misfire. They praise its brutal, distinctive view of espionage while faulting its slow first half and underdeveloped romance. [Read](https://www.digitalspy.com/movies/a135611/body-of-lies/)
- **Paste**, Jeremy Medina (35/100, inferred): Medina finds the film passable as a thriller but ultimately heavy-handed and lacking intelligence. He singles out the visceral terrorist bombings as effective, while criticizing the film’s collapse into a gruesome climax. [Read](https://www.pastemagazine.com/movies/ridley-scott/body-of-lies)

## Details

- **Director:** Ridley Scott
- **Director:** Ridley Scott
- **Screenplay:** William Monahan
- **Novel:** David Ignatius
- **Cinematography:** Alexander Witt
- **Editor:** Pietro Scalia
- **Music:** Marc Streitenfeld
- **Production design:** Arthur Max
- **Costume design:** Janty Yates
- **Producer:** Donald De Line, Ridley Scott
- **Cast:** Leonardo DiCaprio as Roger Ferris; Russell Crowe as Ed Hoffman; Golshifteh Farahani as Aisha; Mark Strong as Hani; Ali Suliman as Omar Sadiki; Oscar Isaac as Bassam; Simon McBurney as Garland; Lubna Azabal as Aisha's Sister Cala
- **Runtime:** 2h 08m
- **Certificate (MPA):** R
- **Release (the US):** 10 October 2008
- **Genres:** Action, Drama, Thriller
- **Budget:** $70 million
- **Box office:** $113 million

## Where to watch in the US

- Amazon Prime Video: rent $3.99, hd
- Amazon Prime Video: buy $10.99, hd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Spy Who Came in from the Cold* (1965): A colder espionage story, with deception given time to damage the people involved.
- *The Battle of Algiers* (1966), Fi1m 93: For political violence examined closely, without the reassurance of a star-led intelligence operation. — [Fi1m page](https://film.one/film/the-battle-of-algiers.md)
- *The Lives of Others* (2006), Fi1m 84: Surveillance becomes personal, with patient attention to the lives altered by listening. — [Fi1m page](https://film.one/film/the-lives-of-others.md)
- *A Most Wanted Man* (2014): An intelligence operation whose human costs receive the attention they deserve.
- *The Bureau* (2015): Longer acquaintance with intelligence officers makes professional secrecy feel difficult to live with.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/body-of-lies