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Every thief dreams of the big heist that will allow him to leave the business of crime behind. Every thief except Nick (Robert De Niro), a cool, methodical safecracker who never takes on long-shot jobs until his longtime partner, Max (Marlon Brando), offers him the big score--to filch a priceless scepter from the Montreal customs house. Wary about the job, Nick and the hotheaded customs house "insider," Jackie (Edward Norton), begin to dissect the elaborate details of entering the building, avoiding the security measures, blowing the safe, and escaping with the scepter. But as in every thrilling crime caper, plans go awry.
Skilled comic director Frank Oz is clearly comfortable working with the best method actors from the past three generations. Brando's Max bursts with joyful cynicism, while De Niro is Brando's perfect foil, so collected that every smile seems like a revelation. Norton's Jackie is far more expressive, but it is Norton's smallest movements--holding a gaze a half beat too long--that hint at the secret motives pulsing beneath his skin. Smooth like the scotch Nick likes to drink, and swirling with tension, THE SCORE provides the real payoff to the audience. Theatrical Release: JULY 13, 2001 Score Reviews: "...There's an undeniable pleasure in seeing De Niro taking to crime in earnest once more....And for Brandologists there's one more performance for the collection..."
-- Edward Buscombe, Sight and Sound "...THE SCORE is the best pure heist movie in recent years..."
-- Roger Ebert, Chicago Sun-Times "THE SCORE is as close to a hat tick as any mainstream Hollywood entertainment in some time. Restoring the seductive style to the no-nonsense procedural heist movie to complete luster....[A] meticulously detailed thriller....A supremely solid movie..."
-- Robert Koehler, Variety "...Smart, tense, clever, and methodical....This is the sort of movie you enjoy exactly because of its gadgety obsessiveness and deft clockwork design..."
-- Owen Gleiberman, Entertainment Weekly "...Brando -- his eyes alive with mischief -- is the life of the movie..."-- Peter Travers, Rolling Stone "...A top-drawer heist movie that ratchets up the tension inch by careful inch....Engrossing..."
-- Kenneth Turan, Los Angeles Times Score Movie Review  Exciting & Suspensful
Will keep you glued to your seat
Submitted by a reviewer (New York N.Y. USA) 
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This review is for a different format.
 I Love It!!!
This is a good one right here. This movie had me glued to my seat. I pull no punches, you'll love it!
Submitted by MichaelShawn (G'boro, NC, USA)
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Average
Don't get me wrong,the movie was good,but the talents of Deniro and Brando are a little wasted.Edward Norton shines the most.
Submitted by Blake (Brandon,MS)
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This review is for a different format. BaD AzZ MoViE
This movie was one of the best DeNiro movies that I have ever seen. Edward Norton gives a great supporting role. I reccomend this moive to anyone who loves action, great endings, and Norton, Deniro, and Brando.
Submitted by a reviewer (Huntington , WV, USA)
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This review is for a different format. | Have you seen this movie? |  |
Score DVD Audio:
Dubbed - French
Subtitles - English
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Writer-director Quentin Tarantino revisits the seedier side of Los Angeles--following 1992's RESERVOIR DOGS--with this funny, violent, tongue-in-cheek tribute to the less "classic" side of filmmaking--the potboilers and capers, the Blaxploitation flicks and gangster movies. The film interweaves three tales, told in a circular, fractured manner, which only fully connect by the time the final credits roll. The first story focuses on Vincent Vega (John Travolta) and Jules Winnfield (Samuel L. Jackson), two hit men on duty for "the big boss," Marsellus Wallace (Ving Rhames), whose gorgeous wife, Mia (Uma Thurman), takes a liking to Vincent. In the second, a down-and-out pugilist (Bruce Willis), who is ordered to take a fall, decides that there's more money in doing the opposite. The final chapter follows a pair of lovers (Amanda Plummer and Tim Roth) as they prepare to hold up a diner.
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Dan Brown’s novels are packed with fascinating historical tidbits which he ingeniously twists into plots that are so intricate and complex that there is a constant need to inform the reader with exposition, often leaving little room for character development. There is a bit of this stilted quality to ANGELS AND DEMONS, the second of Brown’s novels to be brought to the big screen by the tandem of Ron Howard and Tom Hanks, but more than enough intense action to keep the eyes of the audience as busy as their minds. The details of the plot are as diabolical as any in Hollywood history: after the pope’s death, a nefarious organization stashes an antimatter bomb somewhere in the Vatican, threatening to annihilate the conclave of cardinals who are meeting to elect the papal successor. To pass the time until the bomb will detonate, the enemy begins to torture and kill a few of the individual cardinals, but there is a pattern to the grotesque executions, involving hidden sculptural symbols and secret architectural clues. Unfortunately for the church, the man most capable of deciphering the code is the American "symbologist" Robert Langdon (Hanks), who happens to be an affirmed atheist. The script is filled with amazing details about the centuries-old conflict between ...
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THE NOTEBOOK's Nick Cassavetes directs another tearjerking literary adaptation with this drama based on Jodi Picoult's novel. Cameron Diaz takes a detour from comedy to play Sara, the domineering mother of Kate (Sofia Vassilieva, MEDIUM), a young girl with cancer. Sara’s other daughter, 11-year-old Anna (Abigail Breslin), was conceived just to serve as a donor for her sick sister. On the outskirts of the family are father Brian (Jason Patric), who feels unable to stand up to his wife’s strength, and son Jesse (Evan Ellingson), who craves attention in the face of Kate’s illness. But the complicated situation gets more difficult when Anna hires a lawyer (played by the always excellent Alec Baldwin), so that she can control her own body and say "no" to giving a kidney to her sister.
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Though HARRY POTTER AND THE PRISONER OF AZKABAN director Alfonso Cuaron still holds the crown for best film in the series, David Yates is making an attempt at a coup with HARRY POTTER AND THE HALF-BLOOD PRINCE. Dark, gleefully funny, and beautifully shot, this adaptation of J.K. Rowling’s novel should please fans despite numerous changes to the 650-page source material. In this sixth film in the series, Harry’s (Daniel Radcliffe) inevitable confrontation with the dark wizard Voldemort grows closer, and Hogwarts headmaster Dumbledore (Michael Gambon) wants the young student to be prepared. He guides Harry through a memory of a young Voldemort, but an important moment is missing. Harry must extract this memory from the new Hogwarts teacher, Horace Slughorn (a perfectly slimy Jim Broadbent), who is as eager for fame as he is reluctant to revisit this painful moment. Meanwhile, romance rules the school of witches and wizards, with Hermione (Emma Watson) and Ron (Rupert Grint) refusing to admit their feelings for each other. Harry also harbors a secret love of his own: Ron’s younger sister, Ginny (Bonnie Wright). ...
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This World War II comedy stars Cary Grant in an uncharacteristic turn as Walter Eckland. Walter is an unshaven bum who inhabits a deserted island in the South Seas. Completely boozed up, unshaven, and badly dressed, Walter is a watcher for Japanese spy planes. An Australian Navy Commander, Frank Houghton (Trevor Howard) has pressed Walter, who once had his own cruiser at the beginning of the war, to become the sole occupant of a strategic watching station. It is into this world that smart and sexy Catherine Frenau (Leslie Caron) is drawn when Walter, en route in a dinghy to rescue another watcher, stumbles on to the schoolteacher and a flock of seven young girls. The girls have been marooned because their pilot was ordered to leave them to rescue the survivors of an abandoned bomber. Ralph Nelson directs shrewdly and keeps the comedy crisp as these eight survivors try to inhabit the same small island without driving each other crazy. The sharp witted Academy Award winning screenplay by Peter Stone and Frank ...
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Willie Parker (Terence Stamp) is a mobster-turned informant living in relative seclusion and philosophical exile in rural Spain, until he is kidnapped one day and delivered to Braddock (John Hurt), a calculating and maniacal hit man who has been hired to deliver Parker to Paris, where his execution will take place. Braddock's partner, Myron (Tim Roth) is a young punkish fellow with an impulsive and violent streak. As they set out for Paris they realize they are being followed and must stop in Madrid to pick up a new car. They also acquire another hostage, Maggie (Laura Del Sol), whose boyfriend was killed for the car. Tension and the threat of violence hovers over every scene of the movie, creating a claustrophobic atmosphere that mirrors the confines of the car as they drive through miles of beautifully shot desert. Fast paced flamenco music from Spanish great Paco De Lucia ignites the screen and creates a haunting and moody atmosphere.The fine ensemble work from the brilliant cast members helps to create this richly woven and darkly humorous ride.
Terence Stamp is Willie, a gangster's henchman turned informer trying to live in peaceful hiding in a remote Spanish village. Sun-dappled bliss turns to nerve-racking suspense, however, ...
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