A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
In the funeral of the famous British journalist Joe Strombel (Ian McShane), his colleagues and friends recall how obstinate he was while seeking a scoop. Meanwhile, the deceased Joe discloses the identity of the tarot card serial killer of London. He cheats Death (Pete Mastin) and appears to the American student of journalism Sondra Pransky (Scarlett Johansson), who is on the stage in the middle of a magic show of the magician Sidney Waterman (Woody Allen) in London, and tells her that the murderer is the aristocrat Peter Lyman (Hugh Jackman). Sondra drags Sid in her investigation, seeking for evidence that Peter is the killer. However, she falls in love with him and questions if Joe Strombel is right in his scoop.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Second movie where Woody Allen's character used the term "sincere sensation", the first being Manhattan (1979). In this movie, it's genuine, referring to a British audience. In Manhattan (1979), he was being annoyed and ironic towards a pushy Diane Keaton. See more »
Peter never asks Sondra how she got into his secure room to find the Tarot cards under the French Horn. (However it's conceivable he believed she saw him enter it when they entered the room earlier.) See more »
Don't mourn for Joe Strombel. Joe Strombel had a full life. A newspaper man in the best tradition. A great credit to the Fourth Estate. It didn't matter if the bombs of the war zone were falling, it didn't matter how high up the political scandal went, or how many big corporations or small time racketeers leaned on him. Whatever the risk, if there was a story there, Joe went after it. And he usually got it.
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I went to the movie theater this afternoon expecting to be underwhelmed by Scoop. Happily, the film exceeded expectations, at least a little bit. It's nothing heavy, nothing deep -- and not anywhere as good as any number of real Allen masterpieces -- but it's also completely enjoyable as a light, bantering comedy. There's something kind of simple and sweet about it. "Cute" was the word I heard from people in the audience as they were walking out after the show. It doesn't feel like Allen set out to create a masterpiece here, it feels like he wanted to make a little comedy and have fun doing it. Compared to just about everything Hollywood is producing, Allen's stuff has a tendency to charm. Even the fluffy stuff. These days it's just refreshing to go to a movie made by an actual human being.
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