What makes “Body of Lies” different from other espionage thrillers? Well, in the first place, the movie’s fast-moving unremitting whirl of spying games, political conspiracies and unpredictable, roughly ferocious moments of pure sadism, are shrewdly united with a bunch of well thought-out observations on nowadays affairs between countries, as well as interstate cultural discrepancies.

Moreover, the locations depicted in “Body of Lies” are described from a viewpoint that assesses hazard likelihood on the one hand and from a distinct perspective which describes people, traditions and behaviors on the other hand. Although the impressive psychological facet of the new film directed by Ridley Scott should not be overlooked, it can’t cover sufficiently the plot’s deficiencies and lack of originality.

Leonardo DiCaprio impersonates Roger Ferris, a CIA operative who faces the hard-hitting task of hunting down a Middle Eastern terrorist dealer who has been organizing numerous assaults in Europe. Nevertheless, Ferris makes a terrible mistake when he falls in love with a nurse, played by Golshifteh Farahani, as she gets kidnapped and he offers to give in in exchange of her release.

Ferris’ untroubled supervisor, Ed Hoffman (Russell Crowe) controls the agent’s steps via cell phone from Washington. And this is just the suggestion the film aims to make: agents on the ground understand some things better than their superiors, who, inspired by political issues, set up various schemes that regularly cause unmanageable and out of hand conditions.

Because of the overcooked formula of the intrigue, viewers will strive to wait patiently for the real scenario to come out, but they will nevertheless realize in the long run that “Body of Lies” conceals the truth about itself.