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Meanwhile, in a rowboat on Lyman's lake, Lyman confesses to Sondra that he killed Gibson to stop her from blackmailing him and used the Tarot Card pattern to allay suspicion, just as Strombel had told Sid. Lyman comments on the irony that he first met Sondra by saving her from drowning, and now she really would drown. He would kill Sid later; no one would connect an obscure stage magician's death to that of a clumsy journalism student.

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This scene is intercut with shots of Sid driving madly to the Lyman estate to rescue Sondra, ultimately ending in a car crash. After his confession, Lyman throws Sondra into the lake and watches her go under. He then calls the police to report her drowning death. When they question him, he tells them Sondra was a terrible swimmer and almost drowned that first day at the pool. Suddenly, Sondra enters, soaking wet but smiling cheerfully.

She informs Lyman and the police that the drowning had been an act to get his attention, and actually she was a very good swimmer. Back in the newspaper offices, the editor who previously rejected Sondra's article now congratulates Sondra on a brilliant piece of investigative journalism, the start of a promising career. Sondra seems flattered, and says she must also credit Joe Strombel and the late Sid Waterman, Splendini, who is now a passenger on the Reaper's ship, performing for his fellow spirits the same magical gags and comedy routines he did in life.

The lead character originally an adult journalist was tailored specifically to Johansson, whom Allen observed as having an unutilized "funny" quality about her while working on his previous film, Match Point. Although it was filmed in London, the film is the second of Allen's films the other being Hollywood Ending not to have a UK theatrical release.

As is often the case with Allen's films, there is no original score. The film received mostly negative reviews from critics. As of January 21, , the review aggregator Rotten Tomatoes reported that the film received 38 percent positive reviews, based on reviews.

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Basically the movie decodes into a Hardy Boys -level mystery. It's not, of course, that comedies must display documentary realism on this sort of thing. You forgive anything in a movie if it's funny. Scoop is never funny enough — except for the odd, whiny Allen gibe, mainly because it recalls better days — to achieve this dispensation; the lack of realism becomes a crippling attribute. This gives nobody, least of all me, any pleasure, but a truth must be faced: Scoop is the worst movie Woody Allen has ever made.

At the other extreme, Mick LaSalle of the San Francisco Chronicle , who also gave positive reviews to Allen's Melinda and Melinda , called it "the funniest movie of the year so far" and Allen's funniest film in a decade. He also said:. Scoop has something Match Point didn't, something that none of Allen's films have had to quite this degree in 10 years. It's really, really funny. Not funny "heh-heh", but laugh-out-loud funny. Funny like you walk out wanting to tell your friends its best lines.

Funny like you're walking down the street and remember a moment and start laughing like an idiot. Woody Allen has written himself an ideal role, creating a character and a situation that result in a continuous stream of winning bits. And he's paired himself with a partner in Scarlett Johansson who brings deftness and freshness to Allen's familiar comic universe.

Allen doesn't seem to be working terribly hard in Scoop , and while that makes for some apparent goofs and lots of ragged edges, it gives the whole thing a pleasantly carefree vibe. After the first 20 or so clunky minutes, the film settles into a groove and then, ever so slightly, deepens. Allen's invocation of the Thin Man films in an interview makes sense, even if he's no William Powell and Ms. Johansson is certainly no Myrna Loy.

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