Review: 'The Score' Doesn't Pay Off

You would think that with an acting roster that includes Robert De Niro, Marlon Brando and Edward Norton, a film with a title like "The Score" would be a self-fulfilling prophecy. Really -- how can you go wrong with the marquee value of that cast?

Thankfully, due to the talent of that trio, nothing goes completely awry in "The Score" -- it just is a film, that for the lack of a better analogy, leaves you with empty pockets. It's a lethargically paced, relatively uneventful heist drama that, for all it is lacking, is still well done. But as a mixed bag, "The Score" only scores slightly above average.

"The Score" as titled, refers to the promise of a multimillion-dollar payoff that Nick Wells (De Niro) says will be the last of his illustrious career. It exists in the form of a French scepter that not only has historical royal significance -- it's priceless.

Having come close to being caught before, Nick is reluctant to agree to the job at first, but with the cajoling of long-time confidant Max Baron (Brando), a seasoned fencer of stolen goods, he agrees to team up with Jackie Teller (Norton), a brilliant young con who sets up the heist.

Of course, the meaning of "The Score" in the film means a theft. Unfortunately, there is also thievery from the intended audience members. Namely, the biggest rip-off is Brando, who, according to some highly publicized reports, refused to be directed by helmer Frank Oz despite a $3 million payday.

That's too bad, because Oz, who is a talented director ("In & Out"), could have only helped Brando, not hindered him.

There's no question that Brando can act, but to give the man a title billing to draw people in, only to discover that he appears in a few brief scenes, is a shameless bait-and-switch tactic. Sure, Brando brings a spark to proceeedings, but the role is hardly anything memorable. Instead, Brando's turn as Max is a shallow, profanity-filled cameo that essentially could have been played by any number of actors for a whole lot less money.

The only real benefit of Brando's presence is a sentimental one: It gives film fans the opportunity to see both the young and old incarnations of "Godfather" Vito Corleone (De Niro, of course, played the young Don in "Part II") together on the big screen for the first time. And, for whatever it is worth, it is an electric moment the first scene they appear together, much akin to the De Niro-Al Pacino pairing in another heist drama, "Heat."

As the stars of "The Score," De Niro and Norton both have ample screen time, and given a lot of time to develop their characters, deliver the goods. But while the performances are consistent throughout, it's the lack of any real intensity for the first 90 minutes of this two-hour film that dulls their presence. The film is very detail-oriented, but almost to a fault. Plus, a sparse film score does little to ratchet up the atmosphere.

Sure, it's refreshing that "The Score" forgoes the sex and violence that taints most action-thrillers these days, but at the same time, it really doesn't make up for it with any bits of originality.

Essentially, the film is your basic "here's the plan -- get in, get out" sort of heist thriller with the requisite plot twists thrown in for good measure. Angela Bassett has a small role that was obviously aimed at bringing some sort of romantic element and sex appeal to the film, but essentially her appearance is essentially a non-factor. It's another case, like Brando, where an actor is unnecessarily given top billing for very little screen time.

If anybody stands to gain from this experience, it's Norton. Anybody who was flattened by him in "Primal Fear" shouldn't be surprised to learn he's the scene stealer in this film, especially considering his company. Now that's a "score."