Taut, topical political thriller, taking square aim at the controversial US policy of rendition, another appalling Orwell-ian phrase (collateral damage, anyone?) for the illegal interrogation even torture of terrorist suspects by-passing due legal process. The inhuman interrogation is overseen by the Egyptian Chief of Police, himself the target of a fundamentalist suicide - bomb plot, thus entwining the two main plot-lines of the movie. Both work very well, the bombing set-piece graphic and chilling in its realism, with its denouement revealed in a stylish Tarantino-type flashback and the torture scenes on an innocent man also unflinchingly portrayed in all their gory detail. The film scores telling points about the use of torture as a credible means of intelligence - gathering in the war against terrorists and against the unpoliced faceless bureaucracy (here personified by a suitable cold-steeled Meryl Streep, as the CIA boss who casually gives the order for rendition) which can ruin innocent lives. Never mind Kafka's fiction, think more the recent killing of the innocent Brazilian in London in 2005, with the Head of the Metropolitan police still in his job and no-one tried for the poor man's murder. The acting is excellent throughout - the two key roles of the innocent man and terrorist bomber are realistically and tellingly played by the unfamiliar actors Omar Metwally and Moa Khouas. Similarly Yigal Naor as the intimidating Chief of Police and Zineb Ouhach as his idealistic lovelorn daughter ring true with their performances, their lack of familiarity (at least to me) adding to their characters' credibility. Of the bigger Hollywood names present, Gyllenhaal's stature grows with succeeding films, here playing the initially detached but later conscience - stricken and anguished Government man who does the right thing in the end. Witherspoon plays her distraught wife part mainly in one key but is believable all the same, while David Fabrizio and Alan Arkin convincingly show up self-serving senators and their lackeys who'll only go so far to help you until their career prospects are jeopardised. There are a few weaknesses plot-wise; there's little dramatic need to create the "suspense" surrounding El-Ibrahimi's escape and Streep's character is perhaps too obvious a bogey-man/woman. Worst of all is the meaningless inclusion of Gyllenhaal's on-the-spot girlfriend, around merely for decoration and a brief gratuitous love-scene. On the whole though, an engrossing thought - provoking cinematic experience.