"The Score" is so typical and formulaic and old school that it actually seems new again. This is one of those "heist" films that has been done to death. Surely this script has been paraded around in front of Hollywood producers more than Anna-Nicole Smith. It's so 70's that anyone over 30 will surely feel like they've seen it all before, even though computers and modern technology have been added into the mix. Even the title seems 70's. (In fact there was a swinger's film called "The Score" in 1972).

What makes "The Score" work, however, is not it's script, which is acceptable even if tired; no, what makes the film work is the actors and director Frank Oz. Helming his "first" dramatic film, Oz does quite nicely. The film has a feel reminiscent of early 90's fare like "Bugsy" or "Little Man Tate" with a sultry jazz score tripping lightly over the delicate, subtle, subdued and opulent visuals. There is never a over-the-top tense moment here. There is no screaming or gushing blood even. "The Score" is one of the most laid-back and refreshingly stable films to come out in a long while.

And the actors simply do damn fine work. Okay, again, the plot is typical so, of course, the characters are too. But the actors fill them out quite well. We can't help but like the characters because we like the actors and they are doing consummate work. Angela Bassett is really underused here. Any no name actress could have performed her role. But it's nice that she works as Deniro's girlfriend in the film. We accept them as a couple and they fit snugly into the predetermined cliches the film offers them. Deniro is, of course, very good here. I like it when he simply acts and isn't forced to do some sort of "Deniro" type caricature. Sure, he barely emotes here, but, like his character, he is serious and well defined. It's easy to accept him and easy to enjoy watching him.

The two big surprises in the cast are Edward Norton and Marlon Brando. Known for fucking up as well as eating scenery, Brando gives his best performance in years here. Years. It's almost a pleasure to see him even if he looks like a big pile of albino poo. Really, this man needs to either stop digesting farm animals whole or stop making movies, one of the two. Meanwhile, Norton really has needed to settle his ass down for quite a while now and the overwhelming thespianism of Bassett, Deniro and Brando seem to set him on the right course. He does pretty well here. He is called upon to play a dual character and does so nicely without showboating. Well, almost without showboating.

The film's feel of control and intelligence, initiated by Deniro's character, carry over into the look and sound of the film. "The Score" is nothing if not muted, yet it is not lifeless. It's stuck somewhere between muted and opulent. Deniro's home and the jazz club he owns called NYC (the film is set in Canada) is all low lighting, polished wood and molded glass. There isn't a blue or yellow or green to be seen in the film. Likewise, since Deniro owns a jazz club, the film is filled with wonderful jazz tunes which help keep the film feeling "easy" (as we would have said in the 70's). The score (music) by Howard Shore is quite nice... but Mark Isham could have nailed it.

"The Score" isn't out to impress anyone. It's simply a decent film with mature direction and solid acting. It's nice to see a film that wasn't made for a 14 year old for a change.

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