The same is true of the mystery element, which in some ways recalls Manhattan Murder Mystery without being either as funny or tense as that earlier film.
Johansson and Jackman make for a fun pairing, even if they do at times struggle to make Allen's dialogue sound anything other than stilted, but their emotional investment in each other is treated pretty offhandedly, making the question of whether or not they should end up together a non-starter. While nowhere near as bad as The Curse of the Jade Scorpion or Hollywood Ending, largely because Allen continued to cast himself in a supporting role so he could be funny around the margins, leaving other actors to shoulder most of the heavy lifting, Scoop does suffer from a lack of real focus or drive that makes it hard to care about what's going on at any single point. Sondra and Sid set about investigating Lyman by claiming to be a wealthy father and daughter and infiltrating his social circle, attempting to keep their ruse up long enough to figure out if the charming, affable Lyman could truly be a vicious murderer. Never one to miss out on a story, Lyman returns to Earth and appears to Sondra Pransky (Scarlett Johansson), a journalism student who at that moment is participating in a magic trick being practiced by "The Great Splendini," a.k.a. That employer is Peter Lyman (Hugh Jackman), a wealthy aristocrat who may or may not be the Tarot Card Killer, a nefarious murderer who has been killing young women all over London. In Scoop, a pretty middling film whose greatest crime is stealing the title of a truly great novel, Ian McShane plays Joe Strombel, a journalist who dies suddenly and finds himself in the afterlife sitting next to a young woman who claims to have been murdered by her employer. Ever driven by his distracted, digressive muse, he instead returned to doing exactly the same kind of strained comedy that he'd struggled with since 2000, the only noticeable difference being that the actors and accents had changed. Having decamped to London for Match Point and seemingly revitalised his creative juices, Woody Allen could easily have decided to mine the same somber thriller territory for all that it was worth.
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