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Special Features
- Behind-the-Scenes Featurette
- Additional Footage
- "Making The Score"
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Product Description
Customer Reviews
The Score is no different in that respect in that it stars Robert De Niro as a craggy old world weary thief, persuaded to take on one last high risk job before retiring. Ed Norton plays the rookie understudy scamming his employers by posing as Brian, a man with a disability and learning difficulties. Of course Robert De Niro's character Nick, always works alone and doesn't trust anybody but he is persuaded by his camp bloated old fence, Max (Marlon Brando) to work with Jack (Ed Norton). You see Max (Brando) is in up to his eyeballs in gambling debts and is likely to be forcibly shuffled off this mortal coil unless he comes up with the money, Jack (Norton) is working on the inside and Nick (De Niro) is the only man with the knowledge and the skills to get the job done.
Like most heist movies it's a bit of a slow burn build up, it's all about building up the tension until showtime. Inevitably there are a few scares along the way and Director Frank Oz (yes that's right Yoda, or at least the voice of Yoda) does a decent job in building up the tension. Of course one of the great draws of this movie is Frank Oz's coup in getting Brando, De Niro and Norton all on screen at the same time in the same movie. Brando was in his day was considered to be the world's greatest living actor, a mantle De Niro has carried for the past 20/25 years. Edward Norton is not far behind and is generally considered by many (including myself) to be the greatest actor of his generation on the back of great films (American History X, Fight Club) and great performances (Primal Fear, Rounders, Keeping The Faith, The People Versus Larry Flynt, Everybody Says I Love You). Robert De Niro is of course reliably good but not at his brilliant best and it is Ed Norton in the dual role of Jack and Brian who has the meatiest part and adds some energy and vitality to the whole production. Marlon Brando's role however, is something of an oddity. It's not much more than a cameo and its something that he could do in his sleep, which is just as well because it looks like that's exactly what he did.
If there are any criticisms to be levelled at The Score it has to be on the basis that it really is a by the numbers crime caper and lacks none of the originality or vitality of something like Reservoir Dogs and nor does it really take full advantage of its AAA list cast. The opening sequences whilst interesting, perhaps lack the action and intensity you might wish, although they do serve as an insight into Jack's MO (he always works outside the country, he always plans meticulously, doesn't take chances and is never greedy). That said The Score is enjoyable first and foremost for its excellent cast and the opportunity to see them share screen time. Secondly the last forty minutes of the movie where we eventually get to witness the heist are excellent; the heist is great edge of your seat stuff and there are plenty of unexpected twists and turns and an excellent climax. Ultimately though, you are left with the feeling that you've seen this all before and done better. It's more like that trusty old arm chair, warm and comfortable rather than new and exciting. That said it's an enjoyable yarn. Good rather than great BUT still well worth a watch.
Sound familiar? Save for a end game twist or two THE SCORE is pretty much the same heist movie you've seen time and again. It's a strong enough story that doesn't stray too far at all from the tried and true. What sets this movie apart is its cast. To say THE SCORE is actor rich is an understatement. Its three leads - Marlon Brando, Robert De Niro, and Ed Norton - have all been hailed the greatest actors of their generation. Brando plays the fence, De Niro the old pro who wants to pull off one last job before calling it quits, and Norton the neophyte looking for respect. Director Frank Oz wisely highlights characters and the `job' intrudes only when necessary. With a different cast I probably wouldn't have liked this one nearly as much as I did, but Brando, De Niro, and Norton are all on their game and a joy to behold.
The special features includes trailers, a short `making of' feature, a commentary track with Oz and cinematographer Rob Hahn and three or four unused scenes, one of which features Brando and De Niro improvising a scene. The track lasts about four minutes and shows the two going through the same minute or so long bit of business three times. I've never seen two actors of this caliber building a scene before, and it's fascinating to see them hit the same marks - Will you do it? , six million, I always pay your fair - while shading each take differently. It's my favorite four minutes on the dvd.
What the heck, heist movies have been done but they're fun. The characters in this movie are layered and interesting. A strong recommendation for THE SCORE.
The cast is staggering. How often do you get a chance to see the best actors from three separate generations together at one time? And they all do fine jobs. Relish this rare opportunity.
The knock on DeNiro here, and frankly I think people are reaching when trying to find a flaw in any of his performances, is that he "sleepwalks" through the movie. True, his Nick is not a flashy man. Even though he owns a hip jazz club and is a noted thief on the side -- two supposedly glamourous occupations -- he is very low key. But that's a necessary character trait. He's learned that to be thoughtful and deliberate is the best way to ensure that his risky moonlighting job is not so risky. Watch him in one of his first scenes with Edward Norton's character: Norton's Jack, a young upstart thief, lays out his risky plan in all its intricate detail. Nick just stares off to the side, never making eye contact, but carefully considering what he's hearing without any distractions. You can see DeNiro in deep thought here. Pay attention to that, and I guarantee you'll find his character fascinating.
Norton is DeNiro's equal in every way. His Jack is a know-it-all punk, a character we've seen time and time again. But Norton somehow manages to make him a unique creation. Jack's got a fiery intensity, and he's whip smart too. But he knows that he has a lot to learn, and is quite willing. And he's not a perfect thief-machine; he knows that things can go wrong with the plan, and even though he's ready to improvise, you can see his nerves jump when they do. Witness one scene where he's serving as a lookout for Nick, and all of the sudden a policeman emerges from inside a nearby store. Jack jumps into gear, quickly trying to divert the policeman's attention, but breathing and sweating heavily the whole time. The showiest part of Norton's performance is his role-within-a-role work as Brian, a retarded janitor. Brian serves as a cover so Jack can discretely study his target, the Montreal Customs House. Jack as Brian provides some of the film's funnier moments, as the audience knows that his stray comments are really subtle digs at his oblivious co-workers' ignorance and incompetence.
Marlon Brando is lively, even though he's long from being lithe. It's uncomfortable watching this gargantuan man walk into a room (remembering the thundering physicality of his "Streetcar Named Desire"/"On the Waterfront" years). But once he's settled into a chair, and free to use his voice and his hands, you remember why he's generally considered the greatest actor of his (or any other) generation. Compared to Nick's conservative character, Brando's Max is an entertaining and eccentric creation. He's quick with a quip, and more than willing to tell those around him exactly what they want to hear in order to get his way. You can't get away from the fact that he's fascinating to watch. Too bad his role wasn't bigger; the film could've used more of his energy.
Angela Bassett barely even registers. Well, to be truthful, she does fine with what's she's given. But I can't remember a more superfluous character in a suspense thriller. She has no function, either for exposition or motivation. Some would say that her character offers drama, in that her ultimatum to Nick gives him opportunity to re-consider doing this last job. But he was already re-considering his decision. So she's really just reminding him that he's re-considering! How redundant. It seems that the filmmaker's were just throwing a bone at convention, assuming that every movie needs a romantic interest. If her character were cut completely, the story would not change one iota.
It was great to see a Canadian city (granted not a Canadian city that I'm overly familiar with) get such significant face time. Montreal worked wonderfully as the setting for the heist, it's old world charm providing interesting visuals; it's labyrinthine streets providing further opportunities for something to go wrong. Although, hearing DeNiro and Brando stumble through their French dialogue did provide some moments of unintended comedy.
"The Score" is not the greatest heist movie ever made. In fact, its story is quite run-of-the-mill. What makes it a quality movie is its patience with the plot (credit to director Frank Oz; who knew this ex-Muppetteer had such a class touch?), and it's legendary class that delivers a series of absorbing performances.
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