Metacritic reviews

Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither.

Its generic attributes (and title) notwithstanding, Scott's film may be the sharpest of all the post-9/11 thrillers--and also the most purely entertaining--in the way it maps the vectors and currents of the modern intelligence-gathering game without losing us in its dense narrative thicket.

Body of Lies is a James Bond plot inserted into today's headlines. The film wants to be persuasive in its expertise about modern spycraft, terrorism, the CIA and Middle East politics. But its hero is a lone ranger who operates in three countries, single-handedly creates a fictitious terrorist organization, and survives explosions, gunfights, and brutal torture.

The result is commendably non-West-centric, but no less sentimentally conceived.

It may not be as much fun as old spy movies starring Cary Grant or more recent entertainments such as "Spy Game," directed by Ridley's brother Tony, but it feels all too accurate.

The movie is smart and tightly drawn; it has a throat-gripping urgency and some serious insights, and Scott has a greater command of space and a more explicit way with violence than most thriller directors.

The most interesting thing about this slick but frustrating picture is the way it puts Crowe’s Hoffman at the center of our mixed feelings.

The film has one indelible asset: Mark Strong, who plays the Jordanian spymaster Hani. He's sleek and lounge-lizard sharp like a young Andy Garcia, and he could be bigger than Garcia. The Jordanian holds all the cards, and opposite two superstars, Strong is the only actor who holds the camera.

A mostly formulaic approach that becomes more disappointing as the yarn unwinds.

Most of this just seems, you know, so three years ago, so "Bourne" again.