Avis des critiques

“Scoop” juggles so many timely balls it’s a bit of a shame the film doesn’t accomplish that task with more dexterity... The underlying issues surrounding traditional journalism competing with tabloids and how the press covers the UK’s Royal family lift the net result into the marginal-win column.

There's a propulsive force to every scene in "Scoop." ...The events in [the film] are from the extremely recent past, and we've all seen the interview, so there may be no surprises here. The interest comes in the details.

A laboriously acted and distinctly self-admiring, self-mythologising drama... smothered by its own overwhelming sense of importance.

There’s no doubt the “Newsnight” team deserved a pat on the back after giving Prince Andrew enough rope to hang himself on national TV, but the victory lap they’re given here is wildly unearned at the end of a film that struggles to find a story beyond its own sensationalism.

While the film seems comfortable to play the more ridiculous moments for laughs, it struggles to impart the seriousness of Epstein’s crimes... [Scoop] ultimately feels a bit like the description one of the characters has for Newsnight itself: tough, but never sensational.

Seen more as a complement to that actual interview than a forensic breakdown of the story behind it, the movie succeeds in showing viewers that, even in this age of clickbait and quick hits, the slow and steady professionalism of real journalists attempting the Quixotic quest of practicing real journalism can still bring down a giant.

What “Scoop” offers is the modest pleasure — to which any journalist is susceptible — of rooting for a reporting team to get a story. That, and mimicry: exceptional on Anderson’s part, less on that of Sewell, who has a raspier voice and a more passably serious manner than the prince displayed on TV.

Scoop is presented as a thriller, which works. Although we know the outcome, Martin successfully immerses us in the narrative in a way where it feels precarious... It all plays out with a sense of momentum that keeps you on the edge of your seat—an impressive feat.

Beyond its subject matter one of the reasons “Scoop” is genuinely compelling is Philip Martin’s direction. The pacing is brisk, but not rushed. And time and again, “The Crown” veteran smartly lets his actors play to their strengths.

The frustration of “Scoop” is also its point: It vividly conjures the adrenaline and awe of one hour of dynamite television, but can bring us no closer to complete truth, or complete justice.

Scoop is nearly two hours, and while it likely won’t change anything either in your own life or cinema as a whole, it’s still not a bad way to pass some time. It’s a relatively straightforward story we still, as a society, don’t have too much distance from, but it’s always nice to pay tribute to the often unsung heroes who break stories that matter — especially when you can assemble a cast this stacked to do it.