Can a ghostly tip-off solve a murder in Woody Allen's 2006 romantic comedy?

Entertainment · Published 3 October 2026 Swipe more like this →

In short: Woody Allen's 2006 film Scoop blends supernatural mystery with slapstick comedy. When a journalism student receives a lead from a deceased reporter's spirit, she teams up with a magician to investigate a British aristocrat. The result is a polarizing experiment that divided critics while proving a surprise box-office success.

The plot centers on Sondra Pransky, an American journalism student in London who encounters the ghost of reporter Joe Strombel during a magic show. Strombel, trapped on the 'barge of death,' urges Pransky to investigate Peter Lyman, a British aristocrat he suspects is the notorious 'Tarot Card Killer.' Pransky enlists the help of her stage partner, Sid Waterman—a magician known as 'The Great Splendini'—to expose Lyman. The investigation leads them into a web of deception, fake identities, and eventually, a confrontation at Lyman's country estate.

The film's reception was famously polarized. Critics like Stephen Hunter of The Washington Post dismissed it as Allen's worst work, citing a lack of realism and uninspired humor. Conversely, Mick LaSalle of the San Francisco Chronicle praised it as the funniest film of the year, highlighting the chemistry between Allen and Scarlett Johansson. Other reviewers, such as Manohla Dargis, found it 'oddly appealing' despite its ragged edges, noting that it captured a carefree vibe reminiscent of the classic Thin Man series.

Beyond the critical debate, Scoop holds a unique place in 2006 cinema as one of three films that year—alongside The Illusionist and The Prestige—to explore the world of stage magicians. Despite its mixed reviews, the film was a financial success. Produced on a $4 million budget, it grossed over $39 million worldwide. Interestingly, it remains one of the few Allen films to bypass a UK theatrical release, eventually premiering on British television in 2009.

The production also reflects Allen's creative process. The lead role was specifically tailored for Johansson after Allen observed her comedic potential during their previous collaboration on Match Point. True to his style, the film eschews an original score, instead utilizing classical compositions by Tchaikovsky, Strauss Jr., and Grieg to underscore the narrative. Whether viewed as a low point or a charming farce, the film remains a distinct entry in the director's extensive repertoire.

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