The Score (2001) User Reviews

conventional but stylish caper film

[Buddy-51 · 20 January 2002]

`The Score' is a fun, stylish return to the `Rififi,' `Topkapi' school of crime drama. The object of this particular heist is a 17th Century royal scepter from France that happens to be languishing in the basement of the Montreal customhouse just asking to be taken. One of the would-be takers is Nick Wells (Robert De Niro), a seasoned heister dreaming of the quiet life of retirement but compelled to do this one last job as a favor to Max (Marlon Brando), an old buddy in hock to some pretty dangerous mob figures. Completing the triangle is Jack Teller (Edward Norton), a brilliant but brash young criminal mastermind whose high-risk temperament is placed in direct counterpoint to Nick's cool, levelheaded demeanor.

Perhaps the most amazing triumph for director Frank Oz is his success at pulling together this impressive cast of stellar heavyweights who cut across three generations of movie acting. Of course, one might wish to see them in roles more demanding of their thespian talents, but we moviegoers will take these three superstars any way we can get them. And `The Score' is certainly very entertaining on its own terms. The technical elements involved in the planning of the heist are beautifully detailed from start to finish. And Oz generates genuinely nail-biting suspense in many sequences involving close quarters and close calls. In addition, the Montreal setting is novel and fresh and it is enhanced by some very impressive wide screen photography.

A film like `The Score' lives or dies based on the intricacy of its plotting and the expertise of its craft. In both cases, `The Score' excels as an outstanding example of this noble and time-honored genre. And watching these three acting giants doing their thing in a movie together is OUR well-earned reward.

Modern Crime Movie Where Acting Takes Precedence Over Action

[ccthemovieman-1 · 8/10 · 21 July 2006]

Excellent acting is the attraction in this low-key heist movie, which only gets into high gear in the last 30 minutes of the two hours, and features some nice twists. Otherwise, it's a bit talky with a few lulls.

However, I still found it interesting thanks to Edward Norton's superb acting. His character, "Jack Teller" was very intriguing. Robert De Niro, as "Nick Wells" also was good to watch. De Niro rarely is boring. The third major player here is the even-more famous Marlon Brando, who only is referred to as "Max." This certainly isn't one of his more appealing roles but then, how many did he play since the '60s anyway? He - like Norton and De Niro - always grabs your attention regardless of the role, too.

Set in Canada, there were great shots of Montreal in this film, and a sharp DVD picture to show off the city. For those looking for a lot of action, skip this, but for those who are more interested in great acting, check this movie out.

Standard plotting made better by cast

[bob the moo · 1 September 2003]

Nick Wells is a patient, professional, old school thief who works alone. A narrow escape convinces him that it is time to pack it up and settle down with his casual girlfriend Diane. However his middleman Max comes to him with a big score worth millions each and begins to try and convince him to do it. Acting as a downside to the job is Jack Teller, the guy with the insider information who Nick must work with as partners on the job. Even as trust is built between the three men, little things begin to be revealed that could put the whole job at risk.

Very few films are excellent in every regard, some have great plots but low production values where others have multimillion budgets but awful stories. The Score is rightly sold on it's cast for it as little else to offer an audience other than that. The plot is overly familiar and, while not bad, certainly doesn't hold any great surprises for anyone who's seen any `one last job' movies before. The telling is a little slow but holds the attention pretty well, while the job itself is unspectacular but enjoyable.

What makes it worth watching over many other similar twisty heist movies is the cast, who manage to make the material seem better by their inclusion. None of them really have anything special to work with but they all do well and do professional jobs. Norton is probably the standout of the film as he plays several types of character and is good in them all. De Niro does a reasonable job without being flashy or looking like he's making too much of an effort. Brando is OK but now always seems to have a half smile on his face to suggest he isn't taking anything seriously. I don't understand why Bassett bothered to be involved as her part is very small and doesn't add very much to the film – maybe it was a bigger part in the script?

Overall this film is basically nothing new and can be seen in many different forms at video stores world-wide. The thing that helps lift this a little above the rest is not the plot but the talented cast that have been assembled to run it. I enjoyed it and think it is worth watching for that.

Entertaining

[preppy-3 · 8/10 · 30 July 2001]

A robber, Nick (Robert De Niro) wants to retire and marry his girlfriend (Angela Bassett). But a friend of his Max (Marlon Brando) convinces him to do one last job with young brash Jackie (Edward Norton). Naturally something goes wrong. Nothing new or inventive here but very well-done and engrossing. Also it's a pleasure to see three exceptional actors doing good work and enjoying themselves (especially Brando). Only complaint--Bassett (another great actor) is completely wasted. Worth catching. Also, it needs to be seen on a wide screen--director Frank Oz uses the whole screen inventively more than once.

Worth seeing for Brando's 15 minutes of screen time alone!

[uds3 · 16 December 2001]

Although not in the same category as RONIN and impossibly distant from HEAT (what isn't???) this is a superb heist flick for those who really WANT to experience acting at top drawer level!

The plot - doesn't matter...ageing safe-breaker De Niro is offered that "one last" job by Brando who creates in his miniscule screen time, one of the greatest supporting roles I have ever seen in a half century of movies. The scene where De Niro is about to back out of the heist leaving Max (Brando) stranded and with no way out of his financial dilemma is one of the most moving and magnificent verbal exchanges in all screen history!

Similarly Ed Norton's turn as the autistic Brian....gives Hoffman's RAINMAN a run for its money! This guy is your once-in-a-lifetime actor.

Yes, it is slow...painful at times! The end is predictable and not what you'd call overly memorable..and to be frank, I have NEVER seen so many people walk out of a film as I did during THE SCORE, but that's their loss..this is a terrific film for those with staying power and appreciation. The greatness outweighs the mediocrity!

A Bang of (surprisingly) fresh filmaking

[Quinoa1984 · 10/10 · 13 July 2001]

The Score is a movie that holds many elements together that makes is a highly watchable and ultimately suspensful crime movie. These elements are the cast, which has 3 of the finest American actors to ever grace the screen- Robert DeNiro, Edward Norton, and Don Vito Corleone himself, Marlon Brando. Also though another elements is from director Frank Oz, who is a household name (at least for me) by being a muppeteer since 1963 and has also directed some hits (Bowfinger, What About Bob) and misses (In and Out, Stepsitter). Now he tackles his first crime drama, and he does it exceptionally well in holding the suspense in a way that will hold it all together, unlike some thrillers that always pop up suspense and by the time the end comes your tired out from it all. While The Score holds a couple of things also that keep it from greatness (Angela Basset's character isn't really needed for DeNiro's motivations and also the trailer revealed too much of the movie so that the movie had to try extra hard to be thrilling), it also holds controlled and outstanding performances and crackerjack suspense throughout. One of the few real must-see movies of the summer. A

Not bad, but...

[Wizard-8 · 22 December 2001]

First of all, I didn't hate this movie. The acting was good, the locations were colorful and interesting, and I wasn't bored. (Even though the plot of the movie moved slowly, each scene was interesting for one thing or another.) But we've all seen this basic plot many times. Sometimes seeing a formula once again can be fun, if it's filled with energy or a different perspective. But this movie just seemed content to present what we've seen before, and add nothing new to them. If you're bored this movie will do, but I don't think it's one to go out of your way for.

(P.S. - Fans of Brando and Bassett will be disappointed; not only are their roles very small, but their parts could easily have been written out with no real consequence to the story.)

De Niro, Brando & Norton

[johnnyhbtvs27 · 7/10 · 6 February 2022]

A fairly good heist movie with 3 outstanding mega stars in Robert De Niro, Marlon Brando & Edward Norton. It really is the generation game with 3 different generations represented. De Niro & Norton are on top form and it's good to see them going back and forth. Marlon Brando is fine but it's clear to see he is being his usual awkward self as he spends most of the movie sitting down in large robes, it's obvious he was just doing his own thing with little effort or requirement. The biggest failure in the movie is Angela Bassett. It's hard to see why she took such a nothing role other than to work with the talent on show. Her character is reduced to 3 or 4 scenes with absolutely nothing to do. The ending is ok but seeing De Niro walk off into the sunset with Bassett doesn't feel earn as there has been hardly any development between the 2 characters to make us care. A solid heist movie which should have been a great one with the talent it had.

Norton hears a woo!

[buzznzipp1995 · 10/10 · 18 March 2007]

Now undoubtedly Edward Norton is a strong lead and character actor, but he and DeNiro with the support of Marlon Brando, score big-time in this tale of thievery. I was kind o shocked at Norton playing a handy-capped young man in this as well as he pulled it off. He just stole the show in the midst of the plot too! It was a treat to see Brando and DeNiro sitting talking it out at the bar in the middle of town. The story was an exciting setting-up of a heist that these men are all about. This is their line. On top of the style of the story overall I loved the fact that DeNiro's character owned a jazz lounge club and had a townhouse above it. That would be my favorite type of living arrangement. The deception that Norton's man brought was building for a long time at his job and he being the inside man was looking at being recognized the fastest and overall he was the one that worked in the company not the other men in his crew. So he was the one with his neck on the chopping block if authorities put two and two together. This is a great story that has style and a sharp twist together.

I would say, you don't even have to love Edward Norton's work or DeNiro or Brando, for this to be a nice addition to any home collection. Recommended Highly (*****)

Three of the best actors from their generation shine.

[apowersdmb · 18 July 2001]

The Score seems to start off slow for some, but the film's speed is important for the movie. It shows how DeNiro's character lives his life and his life is essential to the plot. "One more" is what he has been saying for years, but this time he means it and will do whatever it takes to make sure nothing goes wrong. Edward Norton's character gives Bob the most grief because he isn't sure if Norton will fly straight. Norton's performance is doubly magnificent and anyone who hasn't seen this actor in action is missing out big time. Brando delivers about 5 scenes that are right on key and provides some comic relief that fits nicely. Overall a really good film that will leave audiences with their jaws on the floor.

The Score takes the age-old one-last-heist premise and makes it good again.

[Anonymous_Maxine · 9/10 · 4 August 2001]

Edward Norton is one of the best actors working today, and Robert DeNiro and Marlon Brando are among the best film actors in history, so it is to be expected that a good film would result from a combined effort from all three of them. DeNiro plays Nick, a veteran break-in artist who is forced to do one last score before his plan to fade into blissfully obscure retirement with his clichéd girlfriend, and who doesn't like the entire set-up from the beginning. Norton plays the characters of Jack (the man who investigated and set-up the heist from the beginning) and Brian (the man who works as a janitor at the building where the priceless scepter is kept, and who pretends to be mentally challenged to avoid drawing attention to himself). You can't help comparing these performances to his similar roles as Aaron and Roy in Primal Fear, which was Norton's second best performance ever, second only to his role as Derek Vineyard in American History X and followed closely by his Jack in Fight Club.

Marlon Brando is back to remind the world of what a gigantic, gigantic man he has become. He plays the role of Max, the aging crime lord who has become wealthy and powerful enough so that he can preside over break-ins and take a cut of the final profit without doing any of the actual breaking and entering. The film follows the set-up and the execution of the heist, in which the three men plot to steal a French national treasure, and the plot becomes necessarily thicker as the movie goes on. It is a sign of skillful filmmaking when a two-hour film spends the vast majority of its screen time setting up a heist that we don't see until very late into the film, and it still manages to move along briskly and keep the audience's attention.

(spoilers) The heist itself is particularly well done, with several new difficulties coming up even as the heist is in progress (they've already had to deal with the sudden addition of motion detectors and cameras in the basement, after it was finally discovered how valuable that thing is that they found in the leg of the termite-infested piano), including new revelations about the characters themselves. There is a scene where Jack leaves Nick hanging upside down from the ceiling in the basement, and there is really no apparent reason for him to have done this other than to let us know that Nick seems to have some questionable intentions.

The heist itself is obviously the most exciting portion of the film, and the tension escalates more and more with every passing minute. First we are on the edge of our seat because Jack is downstairs, turning cameras on and off for Nick, while we know that his janitor friend Danny is waiting for him upstairs, growing increasingly suspicious. Then Danny comes looking for him, and Jack locks him in a basement room, leaving the rest of the night crew to grow suspicious about both of them. The point of no return was passed a long time ago, and it seems at several points that something is going to go horribly wrong and force them to abort the entire thing, but we know that it's too late for them to be able to do that. The film's finale is truly respectable in that it avoids the traditional high action and manipulative shootouts, and we get a great twist involving Jack and Nick.

Nick assumingly goes off into the sunset with his girlfriend, who is played by the under-used Angela Bassett, and everyone lives happily ever after except for Jack, now the subject of a massive manhunt, and Max, who presumably gets nothing from the whole deal. We know that this is a focused action film, even if only from the fact that no one in the film has a last name, but it manages to have an interesting and involved plot with several colorful characters, and an ending that is not exactly original but is made to work very well. Good action, good performances, good direction, and an excellent script make this an action film to remember.

Nostalgic reminiscing

[waterman1976 · 7/10 · 5 December 2020]

Yes, it's a cliché script, but it's a good one. De Niro, Norton and Brando in a classic heist movie from 20 years ago. What do you want more? It's 2 hours of oldschool moviewatching. Not too deep, no psychology, just a plan to rob an artefact and everything that can go wrong with that. De Niro and Norton team up with Brando on the background doing his cottonball in mouth dialogues. The movie delivers what it promises.

Considering the cast, it's all a bit underwhelming...

[planktonrules · 6/10 · 30 August 2014]

There really is nothing wrong with "The Score", though, for that matter, there really isn't a lot right about it either. Considering that the film is Marlon Brando's last and it also stars Robert De Niro and Edward Norton, I would have expected some magic. Instead, it's a mildly entertaining heist film. It also has a performance by Norton that is bound to offend many.

Nick Wells (De Niro) is an aging thief who wants one final score before he gets out of the business. His bizarre buddy, Max (Brando) contacts him about a great heist--a jewel-encrusted golden scepter. However, Nick will have to have a cocky (and annoying)young partner, Jack (Norton)--and Nick is obviously not happy working with the guy.

As for Jack, he's a guy who thinks long term. He took his present job some time back in order to infiltrate the place. And, since being hired, he has behaved as if he has cerebral palsy in order to convince everyone he's harmless. Little do his co-workers know that it's all a brilliant (and politically incorrect) disguise.

To me, the film never piqued my interest and never made my pulse change a single tick. Some of this might have been due to Brando's weak performance, a bit of irritation about Norton behaving as if he's mentally challenged and a very ordinary plot. All I know is that I didn't hate it nor did I like it.

Not a big deal despite cast

[Boyo-2 · 6/10 · 30 July 2001]

What's the point of having a 'dream' cast when they are mostly sleep-walking through their roles? DeNiro has a CALM screaming scene with Norton? Back in his day, he would've turned the room upside down. Brando, at first, looked like he was doing a Truman Capote imitation, ascot and all, but then seems to have changed his mind. Edward Norton delves into Arnie Grape territory with his janitor alter ego, but Leo still did it better. Angela Bassett is along as The Girl, as she has no identity outside DeNiro. She also doesn't seem to be having the time of her life.

In all honesty, the movies best moments were provided by Jamie Harrold as a computer geek/nutcase who helps DeNiro out. He lives in cyberspace and, unfortunately, his mother's basement too. His character was by far the most interesting in the movie and the crowd I saw the movie with appreciated him too. At least he was alive. Congrats to Jamie, who I'd seen in 'To Wong Foo' as a stutterer, and in 'Erin Brockovich.' To make an impression in a movie with three generations of screen giants, he does the near-impossible by making a huge impression..on this viewer, at least.

The movie had one good twist but was nothing new. 6/10.

The Score scores big!

[stacilayne · 13 July 2001]

Yep, it's another clichéd script: Career cat burglar Nick (Robert De Niro, Meet the Parents) is about to take on a nearly impossible heist that requires his joining forces with a talented but brash young accomplice, Jackie (Edward Norton, American History X), whom he doesn't particularly like. The dubious alliance, arranged by Nick's longtime friend and fence, Max (Marlon Brando, Don Juan deMarco), throws a wrench into Nick's plan to retire from crime and settle down with his lady love, Diane (Angela Bassett, Supernova).

Uh-huh. The old, "One more job, then I'll retire," routine. But that's where the routine ends. The trio of brilliant lead actors transcend the plot, and overcome the sometimes sluggish direction (courtesy of Frank Oz, who did Bowfinger and many other comedies -- and children's flicks, such as The Indian in the Cupboard). It's an absolute pleasure from start to finish, just to watch and study these men -- but then, they could probably be taking turns reading the phone book and make it seem fascinating. (Angela Bassett is excellent too, but she is unfortunately relegated to the one-dimensional, obligatory "girlfriend role" here.)

The score is a big one: a 16th century royal scepter worth $30 million dollars. It's locked away in the basement of The Customs House in Montreal, Canada, and security is getting tighter by the day. Jackie infiltrates the House, posing as "Brian," a janitor afflicted with cerebral palsy. Norton is flawless in his dual roles (remember his schizo debut in Primal Fear?), and better still, he plays Brian as funny and endearing without ever creeping into caricature-ville. Meanwhile, Nick is figuring out how to bypass the ironclad security system and crack the uncrackable safe. DeNiro doesn't have a lot to do with his character, but what he was given, he runs with. He not only makes you believe the clichés, you like them, dammit. Brando is clearly having fun with his role -- one tailor-made just for him. "I wrote the part specifically for Brando," said co-writer Kario Salem. "I imagined him as a cross between Truman Capote and Tennessee Williams -- someone of great flamboyance and humor and wit and someone of great size, both literally and figuratively." Brando nails it all the way. (Interesting aside: the roles of Nick and Jackie were originally slated for Michael Douglas and Ben Affleck.)

The twist ending is given away a bit too early (but then there's another twist), and there isn't anything here we haven't seen before. However, with three generations of the world's best actors on the screen, The Score scores big.

Decent but underwhelming

[dierregi · 5/10 · 15 February 2021]

De Niro and Norton play two crooks who form an uneasy alliance under the supervision of Max, the character played by Brando. Brando appears only on a handful of scenes that could have been played by any supporting actor, even if much was said about his presence.

The real clash is between older thief Nick (De Niro) and cocky young newcomer Jack (Norton). Norton follows again the Primal Fear route, which makes his part a bit predictable.

The film shows all the details of planning and executing a complex heist, which makes it interesting from a practical point of view - if you're planning to bust open some safes, maybe you will reconsider...

Mastering suspense without violence

[trobster · 9/10 · 3 July 2004]

I found The Score a very rare treat in the era of Kill Bill 2 and Die Hard 9. In The Score there is plenty of suspense but very little violence. If I explain this too much, I will spoil.

Except for lots of swear words, this is clearly PG-13, and provides a strong lesson in how to craft an action movie without a lot of explosions and gunfights. Plus: three generations of Method actors is a real treat, with Brando playful and seemingly content, DeNiro cool beyond cool, and Norton riffing away the whole movie. [Regarding DeNiro: what's cooler than a) managing a sleek jazz club, in b) sleek Montreal, with c) Angela Bassett as your sleek flight attendant girlfriend?!] Rent it soon >> it's a sleeper.

Brando's last film

[RonellSowes · 9 November 2020]

The first film Marlon Brando did was The Men where he played a character who couldn't walk in his last film,The Score,you wonder how he was able to. All weight jokes aside Brando is very entertaining to watch and comes across as if he isnt acting at all. He always had a natural style which caused such a sensation when he first hit the screen but as he got old he didn't seem to be acting at all.

Heist movies have been done to death so doing something original is very hard. For the most part this film is fairly formulaic with the cliche 'last one' and stereotypical characters. The twists aren't exactly the kind no one saw coming but they still add a pop to it. Illogicalness and plot holes can be found throughout but are in the dismissible realm so I'll abstain from criticizing them.

A good deal of the style and emotion that Frank Oz tried to create in this film are carried by Howard Shore's score. And while the music should accompany the tension a director builds,most of it in the picture is generated by the score.

Average score

[CMUltra · 5/10 · 5 July 2003]

A by-the-numbers heist movie.

You won't find anything innovative here. A veteran thief looking for his "last job" so he can retire. A young "know-it-all" thief. The bankroller who brings it together. The girlfriend who wants the veteran to retire.

The roles are comfortable, the characters familiar. At least they're acted well. De Niro turns in one of the performances he *always* turns in of late. He breezes through the scenes providing satisfactory drama but doing *nothing* memorable. You will forget the character's name by the time the credits are done.

Brando... I'm not sure why he was in this, other than to place him in a movie with De Niro. He was fine as the money man but, given his legend, you just expect so much more.

Norton did the best. Maybe he's young enough to still give the extra effort and not just play the role adequately but try to breathe life into it as well.

The job itself is also routine. We have the valuable target. The nearly impregnable holding spot. The plans, the tunnels, the cameras. *yawn*

Oh well. If you just need an evening movie to relax with, this will do. As I said, all elements (acting, story, direction) are fine and you won't feel like you've wasted your time.

You also won't remember it tomorrow.

5 out of 10.

Good acting in a dull story

[AlabamaWorley1971 · 6/10 · 1 February 2002]

Naturally, Robert DeNiro and Edward Norton can't DO a bad job, but the story here is kind of hackneyed and clichéd. DeNiro replays his role from HEAT as a veteran thief willing to retire for his beautiful girlfriend (a pitifully small role for Angela Bassett). Norton plays the young punk wanting to learn at the master's feet. This movie could have been a lot smarter and a lot more intriguing, but it just sticks to the lowest denominator. However, I do now want to visit Montréal, because this film makes it look absolutely beautiful!

Score: Two to One

[tedg · 23 December 2001]

Spoilers herein.

The director is a nothing; the story at the Hardy Boys level. The only reason for this to exist is to get some leading method actors of three generations together.

Brando reinvented film acting, but was already burned out by ‘62. The Godfather deal was a walk, not an adventure for him. And since then, an empty husk. It is sad to watch him here.

De Niro is a disciple only, not an innovator. He has successfully filled a narrative space a few times, but in the relatively simple case of playing a tough or disturbed guy. He's long over the hill too. Not a matter of burnout in his case, but laziness. De Niro still breaths fire, has good rhythm, but with no magic.

Norton is not only of a new generation agewise, but a practitioner of a new method, one which fills the narrative space with irony, not the direct perspective of the other two. More sustainable because he can reflect us into the space. De Niro depends on putting himself in that space, and he is just not an interesting enough man to fill the dozens and dozens of roles he passes through.

`Fight Club' understood this new method, literally building it into the narrative. The writer and director of this mess have no clue. Brando discovered this on showing up and refused to participate. Both he and De Niro know what is going on and gracefully give Norton leeway.

One sign of a good actor is what he does when the director or writer is so weak. A good one will fill the spaces that the director cannot see with presence that we can. (The best recent example of this in my experience was Gwyneth Paltrow (!) in `Duets,' directed by her Dad.)

De Niro, Brando, Norton and Bassett Bring It To Life

[jhclues · 10/10 · 24 July 2001]

No matter who you are, where you go or what you do, it seems that life is always waiting with a new lesson to teach you; sometimes it's a matter of experience versus youth, other times it's just a matter of having the sense to follow your own instincts. Whichever it is, sometimes it can get really interesting-- to say the least-- especially when it involves a couple of interesting guys; one who just doesn't know enough, while the other violates a cardinal rule he's already learned but chooses to ignore. And the fact that they've been brought together by a third party who has his own agenda makes it even better, which is what happens in `The Score,' directed by Frank Oz and starring Robert De Niro, Edward Norton, Marlon Brando and Angela Bassett.

Nick Wells (De Niro) owns a jazz club in Montreal; he's a solid, tax-paying everyday citizen. He's also never met a safe he couldn't crack. At least in his own territory. Part of his success is that he's smart-- his extracurricular activities always take him across the border, to either the U.S. or Europe. At home, he's clean. And that's his cardinal rule: You live in your own country, but take down scores elsewhere. It's one of life's lessons that has served him well.

One day, however, his associate, Max Baron (Brando) approaches him with an offer he can't refuse. It involves the Customs House right in his own backyard, Montreal. Max, it seems, has an inside guy there, Jackie Teller (Norton), who knows the layout and also knows of a certain item kept in a certain safe that if appropriated could set the three of them up for life. Or perhaps send them up for life. And that's the rub. When does the value of the score finally outweigh the risks? It's a question Nick has to answer, and quickly, because he's the key to the whole operation and Max is in a hurry. Jackie can get them in, but Nick's the only one who can open the safe. So the ball is in his court. But the risk is huge, and Nick's got a lot at stake-- like everything he's worked his whole life for, as well as the woman he loves, Diane (Angela Bassett), whom he's been keeping in the wings for too long already. It's a tough decision, but this one more score would set him up for life, and it's practically a sure thing. And who can pass up a sure thing, even if it is one of the basic lessons life teaches everyone somewhere along the line: There's no such thing as a sure thing, and If it looks too good to be true, it always is.

Working from a clever and exacting screenplay (by Kario Salem, Lem Dobbs and Scott Marshall Smith), director Oz (with some uncredited help from De Niro) sets the stage for the caper nicely, giving you time to get to know the characters and what makes them tick. From the opening he sets a deliberate pace which works perfectly for this character and dialogue driven story, because it's the people and the decisions they make that gives what they do an impact, and ultimately heightens the tension that builds quickly as the crime is being played out. Throw in the fact that there's a couple of unexpected twists along the way, and it makes for quite a show. Of course, having one of the most exciting casts ever to be assembled for a movie didn't hurt Oz's efforts either. Having three of the greatest actors of their respective generations together in a film, then supplementing them with the beautiful and talented Angela Bassett takes this project to a level for which a category hasn't even been created yet.

With another impeccable performance, De Niro continues to delight and amaze. He can take a basically regular guy like Nick (okay, he's got some interesting habits, like cracking safes, but other than that he's just another guy) and make him unique and interesting, beginning with the attitude and working his way from the inside out to create a complete character, emotionally and physically. It's that chameleon quality, that ability to disappear so completely inside the character that sets De Niro apart from just about every other actor you'll ever see. And, ironically, one of them just happens to be his co-star here. His name is Brando.

Since he began his career, Marlon Brando has been larger than life and an actor's actor. He's always been a character actor in leading roles, but now, with age, his ability to create a genuine character, to bring someone to life on the screen, is better than ever. There's a richness to his portrayal of Max that is totally affecting; he's become the Sydney Greenstreet of the new millennium, and hopefully we'll see a lot more of him in roles like this one.

And proving that he can more than hold his own with the giants of his profession, Edward Norton turns in a credible and totally convincing performance as Jackie. Of all of the stars of this generation, Norton just may be the heir apparent to his co-stars here. It's a rare treat to see three actors of this caliber together, and that alone qualifies this film for a footnote in cinematic history.

Angela Bassett makes the most of her limited screen time, meanwhile; her scenes with De Niro really click, and there's some undeniable chemistry between them. Her part may be fairly small, but it's the relationship between Nick and Diane that enhances the drama of Nick's final decision, and that makes it a big part of `The Score,' and one of the reasons this is one film you do not want to miss. I rate this one 10/10.

But the handbag designer is very good. . .

[Critical Eye UK · 1/10 · 24 October 2002]

Amnesia has a lot to answer for, if you could but remember the question. The question here is: did anyone even remotely connected with 'The Score' remember a guy called Dassin and a movie called 'Rififi'? Or even the original version of 'The Thomas Crown Affair'? Answer: no - otherwise this witless effort would never have made it to the screen.

Of course, it's already famous in its unique way: the first film ever to give a credit to a handbag designer. Lana (who she?) Marks, apparently. Handbag Designer To Angela Bassett. Well, there's something to talk about anyway. That and the fact that whoever green-lighted this dross for production must live in a round glass bowl and eat small dry pellets three times a day.

There's no story. There is, however, an unending chain of clichés. An old hand at the game teamed up with a young up and comer. An old hand who is going to make it his Last Job. A lady who says I cannot love you unless you pack it all in. Oh, and a twist in the tail (actually, it's less twist time as desperation time, as if everyone has suddenly awoken to the fact that the film has had nothing to say, done nothing to entertain. . . and it's, er, over).

What Robert De Niro is doing in something that might once have played as a Made for TV outing - though would hardly make the grade now - is bewildering. Ditto Edward Norton. Yet neither seem aware that they're in service to a script so devoid of meat it wouldn't even upset a vegetarian. And as for Marlon Brando, well. . . As for Marlon Brando. Long ago there was a great actor living within a fine and vital physique. Now there's a mumbling self parody, devoid of grace, wit and dignity. A large black cloud passing overhead might not cast as big a shadow over a movie as Brando does but the effect is the same. Witnessing Welles' peculiar decline was bad. Brando's is well-nigh unwatchable.

The plot, such as it is, concerns the theft of 'a priceless sceptre' - well, it would be, wouldn't it? - which has somehow turned up in Montreal (never clearly explained) and which Edward Norton has learned all about (again, never explained). Someone else wants to buy it (er no, never explained, nor how you can put a price on the 'priceless') so cue an exhaustingly lengthy pre-robbery build-up in which nothing happens except you realise how much better Bogart had it in 'Casablanca' (oh, sorry, de Niro is running a jazz club. Well there you go. That's plausible then, for a fulltime safe cracker. Isn't he stiffing enough out of the drinks?)

As the narrative sags lower than even Mr Brando's belly, there's a sudden rush to introduce a new dramatic element: suspense!! Because it now turns out that Brando has to have De Niro get the sceptre otherwise Brando won't get any money and so won't be able to pay off his debts to a wicked mobster.

That this script element was drafted in at the last minute -- though remained just that: a draft - is apparent from the investment made in fleshing out the visual elements of Brando's motivational setup. Enter a big Mafia boss played by a major league star? Well, no. OK. How about Brando being tormented by a minor league star (but still a Big Mobster). Sorry, wrong again.

Instead, here's $10 for the cost of a scene with two men sitting in a parked car outside Brando's house. And that, er, is that. No expense spent. The heavies don't even get a speaking part. Perhaps they were handbag designers.

The saving grace of all this might have been the robbery itself, but it isn't. Norton breaks off from Dustin Hoffman Rain Man impressions to control a computer keyboard - well, there's a crucial scene witnessed in only 50,000 movies before this one - whilst De Niro hangs around like a bat doing Tom Cruise impressions above a safe that's uncrackable but obviously isn't.

In fact, it has to be easy to crack because everything else so obviously is in this movie: to get the Top Secret unlock codes to the huge and vastly complicated security system protecting the safe, De Niro and Norton have to go as far as. . . meeting a man in a park and buying the information off of him.

Excitement? Phew. The sweat will pour off you.

(And how did they get to meet the man in the park anyway? Well, guess what. De Niro is in telephone contact with a computer geek who sits in a room surrounded by PCs and does nothing but hack into other people's systems all day long. Original? Gosh. That's only been in 30,000 movies before this one).

'The Score', then, is trite and tired from beginning to end, an embarrassing waste of time for all concerned and especially any viewer daft enough to have paid to see it. Linear of construct, it proceeds from A to B and then runs the full emotional gamut to, well, C, stopping off en route to prise free as many clichés as possible from as many movie safes it can find in the picture's 26 hour running time (or so it feels like).

The music's pretty awful as well: composer Howard Shaw evidently fell asleep after the first bridge, so that the score is as bad as every other score chronicled in this film -- monotonous, repetitive, unoriginal. And Frank Oz's direction matches it all the way.

Strangely, some of the critics liked it. But then, they're probably all very young and wouldn't know a Rififi from a ruffle.

And they're all goldfish.

Score: not worth rating.

Simply Excellent

[jspratjr3 · 10/10 · 11 May 2003]

Excellent plot, excellent actors and excellent ending. I love this movie from start to finish - Ed Norton was terrific (as always) and Robert De Niro was his usual outstanding self. Don't quite follow the reviews that said this movie was "boring". Sorry, there's no non-stop explosions or car chases, just plain old excellence.

An Unforgettable Heist Thriller That Hits All the Right Notes

[VOIIIXI · 10/10 · 23 February 2024]

"The Score 2001" is an absolute masterpiece that effortlessly combines gripping suspense, impeccable performances, and a well-crafted plot that keeps you on the edge of your seat from start to finish. This heist thriller not only excels in its execution but also delves deeper into the human psyche and leaves an indelible mark on the viewer.

First and foremost, the star-studded cast led by the exceptional trio of Robert De Niro, Edward Norton, and Marlon Brando is a dream come true for any movie aficionado. De Niro effortlessly showcases his incomparable acting skills as the seasoned thief Nick Wells, whose life intertwines with an ambitious but volatile young criminal named Jack Teller, portrayed brilliantly by Norton. Their on-screen chemistry is simply electrifying, creating a captivating dynamic that transcends the boundaries of your typical cat-and-mouse game.

In what was one of his final film roles, Brando was a true force of nature as Max, a cunning fence and mentor to Nick. Delivering a mesmerizing performance that only a true legend could pull off, Brando's portrayal adds a layer of gravitas and complexity to the narrative, injecting it with an additional sense of intrigue and depth.

What sets "The Score 2001" apart is its unwavering commitment to realism and attention to detail. The heist sequences are executed flawlessly, relying on meticulous planning, clever strategies, and a high level of technical precision. Each step of the operation feels authentic, and the tension mounts exponentially as the stakes get higher, keeping the audience utterly engrossed throughout.

Director Frank Oz's masterful storytelling elevates the film to new heights. His skillful navigation of the intricate plot, along with the seamless integration of stunning cinematography and a perfectly fitting musical score, creates a true cinematic experience. The viewer is fully immersed in the world of high-stakes thievery, feeling the anticipation building up with each passing moment.

Beyond the surface of the gripping heist narrative, "The Score 2001" delves into the complexities of relationships, trust, and the moral dilemmas faced by its characters. It explores themes of redemption and loyalty, further adding layers of depth to the film and making it resonate long after the credits roll.

In conclusion, "The Score 2001" simply deserves a perfect 10/10 rating. It is an unforgettable masterpiece that excels in every aspect. With a top-notch cast, expert direction, and a story that hits all the right notes, this film is a shining example of the best the thriller genre has to offer. If you're a fan of suspenseful cinema that leaves an everlasting impact, do not miss "The Score 2001."