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Robert De Niro stars as Nick Wells, who runs a jazz club in the old town of Montreal but is not, judging by his French, a native. His other job is as a specialist in break-ins, and the title sequence shows him trying to crack a safe in Boston. His rule: Never rob where you live. But now his old friend Max ( Marlon Brando ), a Montreal crime lord, comes to him with an offer. He knows of an invaluable antique in the Montreal Customs House, and of a way to steal it. The key to his plan: A contact named Jack ( Edward Norton ), who is a janitor at the building. Jack has become a coddled favorite there, by pretending to be "Brian," whose speech and movement seem affected by some kind of brain damage.

These three performances are what they need to be and no more. It is a sign of professionalism when an actor can inhabit a genre instead of trying to transcend it. De Niro's Nick is taciturn, weary, ready to retire after the proverbial one last score. Norton is younger and hungrier, and a show-off, who angers Nick by fooling him with the Brian performance.

Brando's Max is a dialed-down Sidney Greenstreet character--large, wealthy, a little effeminate; his days of action are behind him, and now he moves other men on the chessboard of his schemes.

To these three characters the script adds a fourth, but does not use her well. This is Nick's girlfriend, Diane ( Angela Bassett ), who flies into town for brief romantic meetings and is assigned the thankless task of saying yes, she'll marry him--but only if he promises he has retired from his life of crime. Diane is so sadly underwritten that Bassett, a good actress, seems walled in by her dialogue. The filmmakers should have eliminated the role, or found a real purpose for her; as a perfunctory love interest, Diane is a cliche.

There are, however, a couple of flashy supporting roles. When it's necessary to crack the security code used by the agency that guards the Customs House, Nick calls on a friend named Stephen ( Jamie Harrold ), who lives in a kind of cybernetic war room in his basement and boasts he's the best: "Give me a KayPro 64 and a dial tone and I can do anything." (There's a running gag about Stephen's mother shouting downstairs for him--a nod to De Niro's character in " The King of Comedy "). Another supporting role, quieter but necessary, is Nick's strong-arm man Burt, played by Gary Farmer , the big Canadian Indian actor.

The dialogue has a nice hard humor to it. When Nick meets a man in the park who is going to sell him a secret, the man comes with another man.

"Who's that?" asks Nick.

"My cousin" the man says.

"See that man reading the newspaper on the bench over there?" says Nick, nodding to the gigantic Burt. "He's my cousin. So we both have family here." Brick by brick, the screenplay assembles the pieces of the heist plan. Obligatory elements are respected. We learn that the Montreal Customs House is the most impenetrable building in Quebec, and maybe Canada. We go on a scouting expedition in a labyrinth of tunnels under the building.

We're introduced to high-tech equipment like miniature cameras and infrared detectors. We study the floor plan. We are alarmed by last-minute changes in plans, when the customs officials finally find out how valuable the treasure is, and install motion sensors and three cameras. And then the caper itself unfolds, and of it I will say nothing, except that De Niro's character does incredibly difficult and ingenious things, and we are absorbed.

That's the point. That we sit in the theater in silent concentration, not restless, not stirring, involved in the suspense. Of course there are unanticipated developments. The risk of premature discovery. Twists and turns. But there is not a lot of violence, and the movie honorably avoids a copout ending of gunfights and chases. It is true to its story, and the story involves characters, not stunts and special effects. At the end, we feel satisfied . We aren't jazzed up by phony fireworks, but satiated by the fulfillment of this clockwork plot that has never cheated. "The Score" is not a great movie, but as a classic heist movie, it's solid professionalism.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The Score (2001)

Rated R For Language

124 minutes

Based On A Story by

• Daniel E. Taylor
• Scott Marshall Smith
• Kario Salem

Directed by

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• Paramount Pictures

Summary Career thief Nick Wells (De Niro) postpones his plans for retirement and joins forces with a young upstart (Norton) to mastermind a nearly impossible theft.

Directed By : Frank Oz

Written By : Daniel E. Taylor, Kario Salem, Lem Dobbs, Scott Marshall Smith

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Robert De Niro

Edward Norton

Jack, brian.

Marlon Brando

Angela Bassett

Gary Farmer

Jamie Harrold

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Sapperstein's cousin, marie-josée colburn, woman in study, gavin svensson, man in study, thinh truong nguyen, carlo essagian, christian tessier, lenie scoffié, storekeeper, bobby brown, critic reviews.

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Confident direction guides heist

Review: acting makes for a top 'score'.

By Paul Tatara CNN.com reviewer

(CNN) -- "The Score" is director Frank Oz's first dramatic feature - after years of whipping up commercial comedies like "Little Shop of Horrors" and "In and Out" - so it comes as something of a surprise that he's never seemed so sure of himself. This is a good old-fashioned heist picture that emphasizes meticulous pacing and character development over optical effects and speed-freak editing techniques.

Now, Oz is no dummy. You don't have to get fancy when your movie features Robert De Niro, Edward Norton, and a hefty scene stealer named Marlon Brando. It's best to just sit back and let them do their thing ... and pray that Brando doesn't sink the entire project with his oddball antics.

De Niro plays Nick, a Montreal-based professional thief who, in the time-honored tradition of this type of movie, is looking to make one final score before he permanently settles down. He also runs a successful jazz club, and would like to walk the straight-and-narrow for the sake of his long suffering girlfriend, Diane (Angela Bassett, who's utterly wasted in her empty role).

One day, Nick's fence, Max (Brando), proposes a job that might do the trick. Deep in the basement of the Montreal customs house, there's a 17th century French scepter that's worth millions of dollars. If Nick can break into the high-security building and grab the goods, he'll be able to hang out at his club listening to Mose Allison and Cassandra Wilson (both of whom provide live performances in the picture) for the rest of his life.

Breaking rules

Unfortunately, there's a catch. To pull off the job, Nick has to break two of his cardinal rules: never steal anything in the city where you live, and never work with a partner.

Max explains that an up-and-comer named Jack (Norton) has been scoping out the customs house for several weeks. Jack, posing as a mentally challenged janitor named Brian, has been charting the security systems that protect the scepter. The guards love the fidgety, simple-minded Brian, so he gets to wander around the building at will. But even Jack's extensive knowledge of the layout doesn't assure that everything will go smoothly. If it did, there wouldn't be any movie.

Technically speaking, there's not much movie anyway, but it really doesn't matter. Until the lengthy final sequence, there's a strange lack of tension. No one is ever suspects the crew of anything. The cops aren't breathing down their necks, and any possible glitches in the process are basically mentioned in passing.

Oz and his screenwriters (Kario Salem, Lem Dobbs, and Scott Marshall Smith) are interested in the details. His steady camera movements draw you into the story, rather than slamming information into your head. Nick and Jack have to maintain their cool in order to do their work. They each have a role to play, and they perform their tasks as calmly as possible. The fun comes from a prickly war of wills between the Old Pro and the Cocky Kid. (If you haven't noticed by now, crime movie cliche fans will not be disappointed.)

Good interplay

De Niro and Norton play off of each other beautifully. For the first time in a while, De Niro isn't expected to blow his stack every five minutes. You can sense the urgency in what Nick is doing, but he seldom allows anyone to see how intensely focused he is. He knows what steps have to be taken to perform his duties, and he's determined to take them gracefully.

Norton's blunt acting style supplies the possible recklessness. Jack only wants respect from his older, more experienced partner. You can see that he bristles when he's told what to do, a trait that eventually has consequences.

And then there's Brando.

It's no industry secret that this guy has spent the past 30 years doing everything he can to drive filmmakers -- and audience members -- up the wall. (Perhaps the most memorable instance is when he wanted to wear a dolphin suit while playing the title character in "The Island of Dr. Moreau.") But his casual work in "The Score" is nothing less than charming.

Max is a fey, terminally amused type who likes to poke fun at everyone in his orbit; he seems to be chuckling even when he isn't. Brando works props like a master, and his immense girth never interferes with the character the way it did when he was expected to be a romantic lead in "Don Juan DeMarco."

The Academy should give him another Oscar, then enjoy the free publicity when he strategically desecrates their olive branch. Maybe he could send an endangered whale to accept the award.

There's a quick moment of violence in "The Score," and the usual grab-bag of profanity. Note that De Niro still accentuates his toughness by refusing to speak with contractions. God only knows why it works, but it does. Rated R.

• Movie Reviews

The Score (2001): A Heist Flick That Hits Most of the Right Notes

The score (2001).

*How is FrameClass calculated ?

American crime thriller heist film directed by Frank Oz , starring Robert De Niro , Edward Norton and Marlon Brando .

Though the movie treads familiar ground in the heist/caper genre, Robert DeNiro, Edward Norton, and Marlon Brando make the movie worth watching. Rotten Tomatoes Critics Consensus

Story: An aging thief hopes to retire and live off his ill-gotten wealth with his lover when a young kid convinces him into doing one last heist that comes with a large payout. ( IMDb )

Where to watch The Score ?

You may also like…, – retrospective & movie review –.

Today, we will talk about a heist movie that’s been lurking in the shadows of cinematic history for a while – “The Score” (2001). Starring heavyweights like Robert De Niro , Edward Norton , and Marlon Brando , this film brings together some incredible talent, but does it deliver on the promise of a thrilling heist? Well, let’s dive in and find out.

First things first, I have to say that “The Score” is a slow burner. It takes its time setting up the characters, the heist, and the tension.

Directed by Frank Oz , who’s known for his work on films like “The Dark Crystal” and “Little Shop of Horrors,” the movie has a steady and measured pace. While that’s not inherently a bad thing, it might test the patience of those looking for a high-octane heist thriller right out of the gate.

Now, onto the cast. Robert De Niro , a legend in his own right, plays Nick Wells, a highly skilled, yet aging thief who’s looking to retire from a life of crime. De Niro brings a level of gravitas to the role that only he can. His portrayal of a man yearning for a peaceful life is convincing and relatable. You can’t help but root for him, even though he’s a criminal.

Edward Norton , who plays the young, unpredictable, and seemingly unhinged thief, Jack Teller, is a revelation. Norton ‘s performance is electrifying, and he steals the spotlight in every scene he’s in.

His character adds a layer of unpredictability and chaos to the carefully planned heist, making the audience wonder just how things will unfold. Norton ‘s performance is truly a highlight of the film.

Marlon Brando , playing Max, the cunning mastermind behind the heist, adds a touch of class to the movie. It’s a pleasure to watch De Niro and Brando share the screen, and their chemistry is undeniable. These two icons of cinema bring an elegance to the film that elevates it above your typical heist thriller.

The heist itself is where the movie really starts to shine. The plan is complex, the security measures are tight, and the stakes are high. The scenes where the characters infiltrate the Montreal Customs House are intense and suspenseful.

The attention to detail in executing the heist is impressive, and it’s where the movie truly captivates the audience . I found myself on the edge of my seat during these sequences, and that’s exactly what you want from a heist movie.

However, “The Score” isn’t without its flaws. The slow pacing , especially in the first half, might deter some viewers. If you’re looking for non-stop action and thrills, this might not be the film for you.

Additionally, the film relies on some familiar heist movie tropes , which can make it feel a bit formulaic at times. While it doesn’t break much new ground, it still manages to be an enjoyable ride, mainly thanks to the exceptional cast.

As for the ending, I won’t give away any spoilers, but let’s just say that it’s a mixed bag . Some may find it satisfying, while others might be left wanting more. It’s a conclusion that leaves room for interpretation, which can be both a strength and a weakness, depending on your perspective.

In the end, “The Score” is a solid heist movie that benefits from the powerhouse trio of De Niro , Norton , and Brando . The slow build-up, strong character development, and intricate heist plan make it a worthwhile watch for fans of the genre.

While it may not reach the heights of classics like “Heat” or “Ocean’s Eleven,” it’s still an engaging and well-acted film that’s worth your time.

So, regarding it’s FrameClass , “The Score” is a solid “Worth a Watch” (3/5 stars). It’s not a groundbreaking masterpiece, but it’s a respectable addition to the heist movie canon, and a good choice for a movie night when you’re in the mood for a crime thriller with a touch of class. Give it a shot, and let us know what you think!

Stephen Galen Estevan

A cinephile whose love for the Silver Screen transcends eras and genres. Armed with a deep passion for films, from classic masterpieces to contemporary gems, I’m on a lifelong quest to explore all 100+ years of Cinema, one Frame at a time. Care to join the adventure?

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• User reviews

• An aging thief hopes to retire and live off his ill-gotten wealth with his lover when a young kid convinces him into doing one last heist that comes with a large payout.
• Three generations of method acting giants unite for this crime thriller written by Kario Salem and directed by Frank Oz. Robert De Niro stars as Nick Wells, an aging thief whose specialty is safe-cracking and who is on the verge of retiring to a life of ease, running his jazz club and romancing his girlfriend Diane (Angela Bassett). But before he can ride off into the sunset, Nick is pressured to do one last job by his mentor and business partner, a flamboyant and extravagant upscale fence named Max (Marlon Brando). Max is plotting the heist of the Montreal Customs House, and he's got a man on the inside, Jackie Teller (Edward Norton), a talented but volatile crook who has managed to ingratiate himself with the facility's staff as a fellow employee suffering from cerebral palsy. Jackie bristles at Nick's interference in "his" score, however, and threatens violence when it seems he's going to be cut out of the action. In the meantime, Nick grows increasingly ill at ease about the operation, as it violates his two most important dictum in thievery: always work alone and never pull a job in your own city.
• Nick Wells, a professional criminal, decides to leave the business for good, since he nearly got caught on his last job. His plan is to live in peace with his girl Diane, running his Montreal jazz club. Soon afterward, Max, his good friend and financial partner, comes along with an offer Nick can't refuse: A historical and priceless French scepter has been discovered while being smuggled into the country. It is now under massive surveillance in the Montreal Customs House, and soon to be returned to France. Nick has to team up with Max's man inside, the young, talented and aggressive thief Jack Teller to get the precious item. Only one question remains: Who will trick whom out of their share? — JungleBunny
• After nearly being caught on a routine burglary, master safe-cracker Nick Wells (Robert De Niro) decides the time has finally come to retire from his illegal activities and focus on running his jazz club. Nick's flight attendant girlfriend, Diane (Angela Bassett), encourages this decision, promising to fully commit to their relationship if he does indeed go straight. Nick, however, is lured into taking one final score by his fence Max (Marlon Brando). The job, worth a $4 million pay off to Nick, is to steal a valuable French scepter, which was being smuggled illegally into the United States through Canada but was accidentally discovered and kept at the Montréal Customs House. Max introduces Nick to Jack Teller (Edward Norton), an ambitious, albeit foolhardy, thief who has infiltrated the Customs House and gained access to information regarding the security by pretending to be an intellectually disabled janitor named Brian. Nick hires his associate Steven (Jamie Harrold) to hack into the Custom House's security system to obtain the bypass codes, allowing them to temporarily manipulate the alert protocols of the system during the heist. Steven is caught, however, by a systems administrator who extorts Nick for $50,000 for the information. More complications arise when they're forced to move up their time-table after the Customs House becomes aware of the true value of the scepter and adds extra CCTV cameras to monitor it while preparing to return it to its rightful owners. Nick uses a sewer tunnel to enter the Customs House basement as Jack uses the bypass codes to rig the cameras to shut off while Nick sneaks into the storage room. One of the janitors stumbles upon Jack as he is working and realizes that he is not really Brian, but Jack locks him in a closet. Meanwhile Nick fills the enormous in-floor safe containing the scepter with water before inserting and detonating a depth charge to blow off the door. He quickly packs up the scepter in a carrying case to depart, but Jack double crosses him and at gunpoint demands he hand over the scepter. Nick reluctantly gives up the carrying case and seconds later the alarm, rigged by Jack, alerts the entire security team to the heist. Nick darts for the sewer entrance he came in as Jack heads back upstairs, tucking the carrying case inside his janitor jumpsuit and slipping past the incoming police units responding to the burglary. Nick escapes the security guards chasing him through the sewer tunnels. After making it to a bus station to flee the city, Jack calls Nick to gloat but is shocked to discover that Nick has anticipated Jack's actions. He opens the carrying case Nick gave him and discovers it contains a steel rod weighed down with bushings. Brushing off Jack's threats of vengeance, Nick advises Jack to flee as "every cop in the city" will now be looking for him. Nick hangs up and boards a boat with the real scepter as a shocked Jack broods over his situation. Later, Max smiles as he watches a news broadcast reporting a massive manhunt being organized to find Jack, the prime suspect, and an unidentified accomplice. Nick then meets Diane at the airport as she returns from work, and she happily accepts a kiss and hug from him

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The Score Review

28 Sep 2001

123 minutes

So, we have a craggy safe-cracker, world-weary and set on retirement, in that Robert De Niro manner. As played by Robert De Niro. Then we have his rookie understudy, a shifty whatsit who riffs on an imbecile scam, you know, in that Edward Norton style. He's played by Edward Norton. Then we get a camp, bloated old fence, a wacky cameo-type role in classic Marlon Brando tradition. Played by Marlon Brando. All in a chic, atmospheric heist plot that is pure Michael Mann. And the film is directed by Yoda?

To be fair, Frank Oz (who voiced the pea-green Jedi) does a sturdy job in creating an edgy, slowburn 70s mood for his thriller. It's just that everything feels like it's going through the motions.

The Score is screamingly competent and completely uninspired.

De Niro is simply strolling through another inbetween role, requiring him to do no more than bristle and scowl. As ever with Brando, it's never entirely clear what he's up to – you get the impression this flagging dandy routine was designed purely to piss off his director. It's great to see him sharing the screen with De Niro (first time ever!), but the loose, impro-mood dialogue fires no sparks. Norton, at least, adds some gusto, mixing up a goofy schtick with the edgy upstart to produce the meatiest character on show.

In its defence, the film is a damn sight better than most of the creatively moribund, brainless blockbusters reeled off over the summer. The lengthy heist sequence that dominates the final third boasts some cool reworkings of the classic safe-cracking routines.

Indeed, there is a grubby realism to all the criminal activity here, instilled by an on-set ex-con who subsequently went down in an FBI sting. Yet, as the closing credits slip onto the screen, there's sense of deflation, that surely some further dimension is still to reveal itself. And there is but one conclusion to be made from this triple-decker of pan-generational heroes – is that it?

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Movies | 21 11 2002

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Common sense media reviewers.

Uneven musical drama has strong language, fighting.

A Lot or a Little?

What you will—and won't—find in this movie.

Being brave means having courage to stand up for y

Troy changes for the better when he meets Gloria.

Main cast includes two characters of color; the re

Fights, including with a knife and gun. A characte

Kissing, suggestive/pejorative slang like "pity f-

Language includes "s--t," "f--k," "hell," and word

A scene with a character smoking a cigarette.

Parents need to know that The Score is a British romantic and dramatic thriller/musical about a man (Will Poulter) who decides against following through with a heist once he falls in love with a waitress (Naomi Ackie). Expect a few fight scenes (including with a knife and gun), strong language ("s--t," "f--k,…

Positive Messages

Being brave means having courage to stand up for yourself and others. Having courage to live a better life is a daring but necessary choice.

Positive Role Models

Troy changes for the better when he meets Gloria. Even though he was going along with a criminal plot with his partner-in-crime, Mike, Troy realizes that he can be a better man and live a more meaningful life. Gloria brings out the best in him, inspires him to take a different path.

Diverse Representations

Main cast includes two characters of color; the rest are White. Gloria (Naomi Ackie) is the only woman of color. Her character is meaningful but also falls into the cliché in which women serve to deepen a male character's storyline.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Fights, including with a knife and gun. A character makes a threat in one scene.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Kissing, suggestive/pejorative slang like "pity f--k." Mention of sex.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language includes "s--t," "f--k," "hell," and words that could be ableist such as "crazy," "stupid," and "deaf" (e.g., "Are you deaf?"). Exclamatory use of "Christ."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Score is a British romantic and dramatic thriller/musical about a man ( Will Poulter ) who decides against following through with a heist once he falls in love with a waitress ( Naomi Ackie ). Expect a few fight scenes (including with a knife and gun), strong language ("s--t," "f--k," etc.), kissing, and a bit of crude sexual language. There's also a scene with cigarette smoking. Themes tie into the idea that having the courage to live a better life is a daring but necessary choice. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

THE SCORE is a genre mash-up of musical and crime thriller. The film focuses on Troy ( Will Poulter ), a man who's meant to take part in a heist with his partner, Mike ( Johnny Flynn ). But Troy decides against taking a criminal path when he meets waitress Gloria ( Naomi Ackie ). Troy's journey then sets him in opposition to Mike on a path less traveled.

Is It Any Good?

This movie is an interesting watch if you like films that play with genre, since it combines musical moments with drama and thriller elements. But while this mix can certainly be done smartly -- e.g., in Bollywood's use of musical numbers in thrillers, dramas, and other traditionally nonmusical genres, as well as in American musicals like West Side Story and Sweeney Todd: The Demon Barber of Fleet Street -- The Score feels clunky and more focused on its romantic beats than on fleshing out its hard dramatic ones.

The film's biggest feat is showcasing Ackie's singing talent. Hearing her vocal ability makes you wonder when she'll be cast in a musical that can really capitalize on her talent. She's definitely the standout in The Score , lifting up the songs that could be boring otherwise.

Talk to Your Kids About ...

Families can talk about courage . How does Troy show courage in his relationship and in life?

How does Troy change once he meets Gloria? Do you consider either or both of them role models ?

How does Gloria represent people of color in The Score ? How well does the film as a whole include diverse representation ?

How does the musical aspect of the film help or hinder the story?

Movie Details

• In theaters : June 3, 2022
• On DVD or streaming : June 10, 2022
• Cast : Will Poulter , Johnny Flynn , Naomi Ackie
• Director : Malachi Smyth
• Inclusion Information : Female actors, Black actors
• Studio : Gravitas Ventures
• Genre : Romance
• Character Strengths : Courage
• Run time : 100 minutes
• MPAA rating : NR
• Last updated : June 19, 2023

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‘The Score’ Review: Songs in the Key of Heist

The singer-songwriter Johnny Flynn stars alongside Will Poulter and Naomi Ackie in an understated musical about two small-time crooks and a budding romance.

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By Amy Nicholson

The title of this small-scale existentialist musical from the writer-director Malachi Smyth refers to the bag of cash two shabby crooks have driven to a sleepy stretch of England. It is also a nod to the fact that the day’s misadventures will be partly told in song.

Mike (Johnny Flynn), the leader of this criminal duo, and Troy (Will Poulter), the slap-happy muscle, are irritated to be stuck in a middle-of-nowhere cafe waiting for a dodgy exchange that could get violent. The squabbling pair aren’t in harmony about anything, though they do share a tendency to express themselves in baleful, restless tunes with hyper-literate lyrics. “I’m an idea of magnitude giving birth to itself ad infinitum,” Poulter warbles to the diner’s prickly waitress, Gloria (Naomi Ackie). She may or may not hear him, even as she adds her own layer of song to vent her frustration at being stuck serving coffee to a string of oddball customers, wishing she was anywhere else.

Troy and Gloria must sing about their instant attraction, otherwise their fledgling love story would barely register. But glossy ballads, these aren’t. The songs are penned by Flynn who, when not acting, has released several albums of craggy, cerebral folk. (His latest, “Lost in the Cedar Wood,” a collaboration with the British writer Robert Macfarlane, took inspiration from “The Epic of Gilgamesh.”) The movie’s music has a pleasantly crumpled feel. It is lip-synced casually, as though the characters are bashful about belting their innermost thoughts. The songs can seem to operate on their own plane: When Flynn croons through a window, it’s almost surprising to see his breath mist the glass.

The film is besotted by its own cleverness. The overwrought dialogue clashes with the rest of the movie’s naturalism. But Smyth’s very point is that ordinary folk have the right to strive for poetry — and his shaggy sincerity wins out in the end. With this promising ditty as his debut feature, the filmmaker introduces himself as a voice to be heard.

The Score Not rated. Running time: 1 hour 40 minutes. In theaters.

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Score, The (United States, 2001)

Many years ago, during the Golden Age of Hollywood, the motion picture industry practically ran on star power. These days, in large part because of skyrocketing salaries, it's unusual to find more than one high-profile performer in any given motion picture. The Score , however, boasts three of them - aging icon Marlon Brando, Scorsese favorite Robert De Niro, and the up-and-coming Edward Norton. Admittedly, this sounds like an unbeatable combination to fashion a top-notch caper flick, but, like 1998's disappointing Twilight , The Score proves that a cast with high-wattage names isn't enough. The script needs to be on par with the acting talent, and, at least in this case, it isn't. The Score is let down by the screenwriters.

As heist movies go, this one is on the low side of mediocre. For most of the running length, it's acceptable - in fact, some of the scenes detailing the preparation and execution of the crime are engaging - but there are two twists near the end that are dumb and unnecessary. Screenwriters Kario Salem, Lem Dobbs, and Scott Marshall Smith fail to understand the meaning of the cliché "less is more." The Score doesn't need the character-assassinating, logic-defying contortions that mar its final ten minutes; it would have been a more satisfying experience had it not turned the climax into an unpredictable mess.

Nick Wells (De Niro) is a master burglar who has made a comfortable living doing jobs for others. Now, as he's contemplating retirement to run his beloved jazz club in Montreal, he is offered one last opportunity by his old friend, Max Baron (Brando). A priceless artifact - a 17th century scepter made for a girl queen - is being held in the basement of the Montreal Customs House. It is kept in a secure place - inside a safe and surrounded by all sorts of electronic anti-theft equipment. But Max is convinced that Nick can commit the robbery with the aid of Jackie Teller (Edward Norton), Max's "man on the inside." Nick, smelling trouble, initially declines, but the lure of "a very big payoff for very acceptable risks" eventually lures him into a partnership with Jackie. Together, the two of them begin planning a huge score.

I don't understand how Marlon Brando still finds work. His days of wine and roses are long past; he hasn't given a memorable performance since Nixon was in the White House, and he looks more like Jabba the Hutt than the well-chiseled actor who stunned audiences in On the Waterfront . He's a self-parody; a once-great actor who has lost the desire to act and works only for obscene amounts of money. Like a badly out of tune piano, every note he strikes is sour. Plus, there's the colossal ego to contend with - an ego that caused him to refuse to be on the set at the same time as director Frank Oz, a situation that the studio euphemistically stated to be the result of "creative differences." The product is an awkward, unpolished performance. Fortunately, Brando is only in handful of scenes.

For De Niro and Norton, this is just another paycheck. The Score is not an actors' movie; it is plot-driven. De Niro, Norton, and Brando are all there because of their names, not because they have anything of substance to contribute. As Nick, the aging crook who wants to go straight, De Niro is traversing a well-trodden path. Likewise, Norton could do the role of Jackie in his sleep. Both actors are fine, but there's nothing here to challenge either of them. Meanwhile, poor Angela Bassett has the dubious distinction of holding down the paper-thin part of Nick's girlfriend - the woman for whom he's willing to give up his life of crime.

Director Frank Oz, better known for helming lighter films (like 1986's Little Shop of Horrors ), seems a little out of his depth here, although that could have something to do with the on-set friction. The film occasionally develops tension (mainly during the heist sequences), but it is unable to sustain it. And, on one occasion, Oz works hard to generate some artificial suspense by including a superfluous scene where Norton buys computer access codes from a couple of hackers.

It's worth noting that, with a less prestigious cast, The Score would have been a strong candidate for direct-to-video or direct-to-cable distribution. Based on the script alone, this is not a theatrical quality motion picture. It's weak even when compared to recent caper movies like the cynical, ultra-violent Snatch or the gentle, comedic Where the Money Is . The Score is not a complete bore - the involvement of these actors guarantees that (after all, it is a momentous occasion to finally have the two Vito Corleones on screen together) - but it has to be classified as a disappointment. From the trio of Brando, De Niro, and Norton, one expects something more inspired and less workmanlike than what The Score is able to offer.

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"Character Counts"

What You Need To Know:

(PaPa, LLL, V, S, A, DD, MM) Pagan worldview shows that crime pays in captivating heist story that, nevertheless, makes viewers root for one criminal over another criminal; 72 mostly strong obscenities, 16 mostly strong profanities & one crude sexual reference; mild crime violence such as people hold guns on one another, man blows safe apart, thief puts hand over woman’s mouth when she discovers him opening a safe, police fire guns while chasing criminal, punching, & hitting man’s torso with a bat; implied fornication after crude sexual proposition; no nudity but couple wears calve-length bathrobes after off-screen sex; alcohol use; smoking & minor character smokes marijuana; and, stealing & movie teaches crime can pay & the ends justifies the means because the protagonist with whom viewers are meant to empathize most is a criminal who wants to do one last really big heist so he can retire & settle down with his long-time sexy girlfriend.

More Detail:

“Character driven story” is a cliché of movie criticism that can be quite tiresome; sort of like short-hand for, “I really don’t want to fully analyze all the things happening in this movie, so I’ll settle for cliché, knee-jerk phrases so that I can feel superior and people will think I know what I’m talking about, but I really don’t.” Such cliches are an occupational hazard, and can be quite embarrassing when other people take your reviews and quote them out of context. Nevertheless, sometimes cliches are really true, so what’s a person to do?

Director Frank (A MUPPET CHRISTMAS CAROL) Oz’s new movie for adult audiences, THE SCORE, is a “character driven” heist movie starring four of the most talented American actors in the last 50 years, Marlon Brando, Robert DeNiro, Angela Bassett, and Edward Norton. Regrettably, although exciting and filled with tension, it adopts the position that crime can pay, especially if you’re cautious, clever and utterly professional.

Robert DeNiro stars as Nick Wells, a safecracker living in Canada who’s ready to retire and settle down with his girlfriend, played by Angela Basset. Nick’s heavyset friend and partner in crime, Max, played by Brando, has other plans, however. He offers Nick a multi-million dollar job he can’t turn down – stealing a priceless French scepter hidden away in the basement of Montreal’s Customs House.

Max persuades Nick to violate two of his most important rules –always work alone and never operate in the city where you live. He teams Nick with Jack, played by Edward Norton, a cocky young thief who has infiltrated the Customs House by posing as a simple-minded, handicapped janitor. Personalities clash, sparks fly and secret plans emerge, but the thrill of the heist grips the three men, who won’t give up no matter what the risk.

THE SCORE effectively builds tension throughout this story. Some surprise twists end the movie on a note of emotional triumph. Furthermore, the movie builds in many humorous elements, not only in Brando’s performance, but also in the character of a computer nerd whom Nick uses to find out crucial information.

It’s the acting that seems key to everything, however. Apparently, director Frank Oz let the actors develop and embellish their roles. Though this is not always a good thing (just think of Brando’s misguided improvisations in MISSOURI BREAKS or APOCALYPSE NOW), it works almost perfectly in THE SCORE because the embellishments raise the psychological stakes when Nick, Max and Jack try to manipulate one another during the planning and execution of the heist. The fact that the improvisation works wonderfully well in THE SCORE is not only due to the actors’ efforts, but also to the efforts of the director.

It would have been much better morally, however, if THE SCORE did not ultimately teach that crime can pay. Making this immorality worse is the fact that Nick, the character with whom viewers are meant to empathize most, is a criminal who wants to do one last really big heist so he can retire and settle down with his long-time sexy girlfriend. Thus, the movie also teaches that the ends can justify the means. Of course, putting the protagonist in jail may not be the most satisfying ending to a movie like THE SCORE, but there are other ways to show that crime does not pay. For example, the movie can show the protagonist losing the stolen object in the final act, or the movie can show one of the protagonist’s friends suffering some significant hurt because of the protagonist’s illegal or immoral actions. Instead of this, THE SCORE settles for giving viewers a vicarious immoral experience where they, and the protagonist, get away with breaking the law.

THE SCORE also contains many strong obscenities and profanities and a crude sexual proposition, which is followed by a scene of an unmarried man and woman in calve-length bathrobes having some kind of breakfast. All of these things make THE SCORE a highly questionable, even though very entertaining, work. Character counts in scriptwriting, but it counts even more in life.

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30 facts about the movie the score.

Written by Audy Yoshida

Modified & Updated: 05 Mar 2024

Reviewed by Sherman Smith

The Score is a critically acclaimed heist movie that was released in 2001. Directed by Frank Oz and starring an impressive cast including Robert De Niro, Edward Norton, and Marlon Brando, the film revolves around a seasoned thief named Nick Wells, who agrees to take on one last high-stakes robbery before retiring from a life of crime. However, things take a thrilling turn when an ambitious young thief named Jack Teller becomes involved, leading to a series of unexpected twists and turns.

In this article, we will explore 30 fascinating facts about The Score, from behind-the-scenes tidbits to interesting trivia about the production and the cast. So, buckle up and get ready to delve into the world of this exciting heist film and discover some secrets you may not have known!

Key Takeaways:

• The Score is a thrilling heist movie with legendary actors, intense suspense, and a surprising plot twist. It explores trust, deception, and the moral dilemma of crime, captivating audiences with its gripping storyline.
• The film’s stunning visuals, memorable soundtrack, and expertly crafted pacing keep viewers engaged until the end. The Score’s legacy lives on as a favorite among crime thriller enthusiasts for its captivating performances and intricate heist plan.

The Score starred three legendary actors

The movie featured the acting prowess of Robert De Niro, Edward Norton, and Marlon Brando.

The film was directed by Frank Oz

Famous for his puppeteering work on The Muppets, Frank Oz brought his unique perspective to the movie.

The Score was released in 2001

The film hit the theaters on July 13th, 2001, captivating audiences with its gripping storyline.

It is a heist thriller

The Score revolves around a group of thieves planning to rob a priceless French scepter from a high-security vault.

The film is set in Montreal, Canada

The intriguing cityscape of Montreal serves as the backdrop for the thrilling heist.

The Score received critical acclaim

Critics praised the performances, direction, and screenplay, earning the film a favorable response.

The movie’s budget was $68 million

The Score was a big-budget production, evident in its stunning visuals and top-notch production values.

The film explores the complexity of personal relationships

Amidst the thrilling heist, The Score also delves into the emotional dynamics between the characters.

The Score features intense suspense sequences

The movie keeps viewers on the edge of their seats with nail-biting and adrenaline-pumping moments.

An elaborate heist plan takes center stage

The film showcases an intricately planned heist, captivating audiences with its intricate details.

There is a surprising twist in the plot

The Score keeps viewers guessing with an unexpected turn of events that adds even more depth to the story.

The movie depicts the art of deception

The characters in The Score use various methods of deception to accomplish their goals.

The film explores the boundaries of trust

The Score examines the fragile nature of trust and its importance in relationships.

The movie showcases the clash of old and new school methods

Robert De Niro’s character represents traditional approaches, while Edward Norton’s character brings a modern perspective.

The Score features a memorable soundtrack

The movie’s music enhances the suspense and adds intensity to key scenes.

The film’s screenplay was written by a prolific writer

The screenplay was penned by Kario Salem, known for his work on other notable films.

The Score was a box office success

The film grossed over $113 million worldwide, solidifying its popularity among moviegoers.

The movie explores the moral dilemma of crime

The Score raises thought-provoking questions about the ethics of committing illegal acts for personal gain.

The film received an Academy Award nomination

The Score was nominated for Best Original Score, recognizing the outstanding musical composition.

The movie showcases the art of safe cracking

Viewers get an inside look at the intricate process of cracking high-security safes.

The Score presents a unique dynamic between the characters

The complex relationships between the protagonists add depth and realism to the story.

The film’s cinematography is visually stunning

The Score features breathtaking visuals, highlighting the beauty of Montreal’s architecture.

The movie keeps audiences guessing until the end

The unpredictable twists and turns of the plot make The Score a thrilling and suspenseful experience.

The film’s pacing is expertly crafted

The Score balances action-packed sequences with moments of introspection, keeping viewers engaged throughout.

The movie received positive audience reactions

Viewers praised the film’s engaging storyline, strong performances, and thrilling action sequences.

The Score showcases the talent of the cast

The movie allows De Niro, Norton, and Brando to exhibit their acting prowess in captivating performances.

The film’s production design is meticulous

The attention to detail in set designs and props adds authenticity to the heist sequences.

The Score’s success led to DVD and Blu-ray releases

The film’s popularity prompted its release on home video, allowing fans to enjoy the thrill at home.

The movie remains a favorite of crime thriller enthusiasts

The Score continues to be highly regarded among fans of the genre for its gripping storyline and stellar performances.

The film’s legacy lives on

The Score will forever be remembered as a captivating crime thriller that showcases the talents of its cast and crew.

In conclusion, The Score is a thrilling heist movie that captivated audiences with its gripping storyline, stellar performances, and intense action sequences. With its talented cast including Robert De Niro, Edward Norton , and Marlon Brando, the movie delivered a masterclass in acting. The intricate plot twists and turns kept viewers on the edge of their seats, making it a must-watch for any movie lover. The Score successfully combines elements of suspense, drama, and crime, creating an unforgettable cinematic experience. Whether you’re a fan of heist films or simply enjoy quality movies, The Score is definitely worth adding to your watchlist.

1. Who directed The Score?

The Score was directed by Frank Oz .

2. When was The Score released?

The movie was released on July 13, 2001.

3. What is the plot of The Score?

The Score follows a retired thief who agrees to pull off one final heist to repay a debt, only to find himself caught in a dangerous web of deception.

4. Who are the main actors in The Score?

The movie stars Robert De Niro, Edward Norton, and Marlon Brando in lead roles.

5. Is The Score based on a true story?

No, The Score is a fictional film with a unique storyline.

6. What genre does The Score fall into?

The Score is primarily classified as a crime thriller and heist film.

7. Is The Score available for streaming?

Yes, The Score can be streamed on various platforms like Netflix, Amazon Prime Video, and Hulu.

8. Did The Score receive any awards or nominations?

While The Score did not receive major awards or nominations, it was well-received by both audiences and critics.

9. What is the runtime of The Score?

The movie has a runtime of approximately 2 hours and 4 minutes.

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Movie review: ‘Challengers’ sizzles with bubbling ferocity

By the time Luca Guadagnino’s erotically charged tennis film “Challengers” reaches its breathless, sweaty, pulse-pounding and deeply satisfying climax, you’ll be reaching for a cigarette, so to speak. Rarely is a film so sensorially captivating, every element of cinema, including script, cinematography, editing, score and performance blending together to create such a fizzy, frenzied brew, a chemical reaction of rage and lust sizzling with bubbling ferocity.

“Challengers” is a movie about bodies: sexy, strong, scarred bodies; bodies in glorious motion, crumpling under force, and drawn together over space and time, again and again. During a hard-fought match at a New Rochelle tournament, our players – which include the two men on the court and one woman, spectating on the sidelines – engage in body talk, communicating with gestures, glances, grunts and gasps, expressing what’s been left unsaid between them.

It’s the ultimate example of the concept that tennis isn’t just hitting a ball, it’s a relationship. This bit of wisdom was espoused by teen tennis phenom Tashi Duncan (Zendaya) 13 years prior to this match; now she watches this relationship unfold as two men smash the ball back and forth in front of her. They are her husband, Art Donaldson (Mike Faist), and her ex, Patrick Zweig (Josh O’Connor). Art is a honed, sculpted god, taped, gelled and optimized under Tashi’s watchful eye; Patrick is a grungy tennis bum, sleeping in his car, scamming sandwiches off sympathetic officials, and places to crash on Tinder. Over the course of each set, we’ll come to understand the complex relationship between this trio.

The script is the debut of playwright and novelist Justin Kuritzkes, who happens to be married to Celine Song, Oscar nominated this year for her debut feature, “Past Lives,” which also features a woman caught between two men, weighing passionate connection against pragmatic concerns. Where Song’s film was about the power and beauty of silence and patience, Kuritzkes’ script is hyperactive, the characters smart, cutting and acerbic, simultaneously deeply romantic and cynical. On a structural level, the screenplay can’t stop moving either. The central tennis match serves as a framing device for a series of flashbacks starting with the characters’ summer before college and covering every angst-ridden tangle in between.

But it’s Guadagnino’s filmmaking that elevates the material to truly transcendent heights. The film is shot with crisp, epic clarity by cinematographer Sayombhu Mukdeeprom, whose camera continually draws triangles between our players, and collaborates brilliantly with editor Marco Costa, who cuts in time with the throbbing techno score by Trent Reznor and Atticus Ross.

The match starts with extreme wide shots, mannered and removed, before the camera swoops in on Tashi as the beat drops, zeroing in on the woman for whom these men have always been competing. But as we come back to the match, again and again, the camera gets closer to Art and Patrick, becoming erratic and experimental. By the end, we’re seeing shots from the point of view of the players, the court and even the ball, wildly flying back and forth across the net, batted around like every person in this triangle has been by the others at some point.

It’s through this tennis metaphor that Kuritzkes and Guadagnino explore the way power, desire and ambition are woven throughout intimate relationships in a fetishistic way. The ruthlessly professional Tashi seems to get off on psychologically and sexually controlling Art and Patrick, which the chaotic Patrick resists and to which Art happily submits. Their marriage is one of his surrender to her wishes as an act of pure love and devotion, even though she is helplessly drawn to Patrick’s dancing, destructive flame. The sexually omnivorous and opportunistic Patrick, for all his indecision, sees the situation clearly, but then again, they all seem to. They just want what they want.

Guadagnino is one of our greatest auteurs of desire, especially the forbidden kind, and “Challengers” is a deeply erotic and sexy movie even though it doesn’t have all that much sex. Like everything else – conversation, arguments, catharsis – the sex is subsumed into tennis. Still, it is an incredibly lusty film, and it’s rare to enjoy this kind of explosive screen chemistry among all three performers.

Faist, who comes from theater and dance, moves with beautiful intention, and Mukdeeprom’s camera regards his every angle with fascination. In contrast, O’Connor embodies the kind of louche, grimy and utterly dangerous sexuality that most women find infuriating and irresistible. Zendaya is as enthrallingly intelligent, mysterious and unpredictable as she has ever been, and it’s easily her best performance.

“Challengers” is the kind of sexy, engrossing somewhat twisted romance we don’t see enough of these days, a thrilling film, thrillingly rendered in its layered storytelling expressed in the purest cinematic form. Take advantage while you can.

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Movie Review: Prepare to get hot and bothered with stylish, synthy tennis drama ‘Challengers’

Zendaya says starting out as a child actor made her want to get more involved behind the camera as an adult. Promoting her new film “Challengers” alongside co-stars Mike Faist and Josh O’Connor, the 27-year-old actor and producer said she enjoys being able to have “a seat at the table” when it comes to making creative decisions. She spoke with AP entertainment reporter Krysta Fauria about working with director Luca Guadagnino, whether she wants to direct in the future and her “beautiful journey” in Hollywood.

This image released by Metro Goldwyn Mayer Pictures shows Mike Faist, from left, Zendaya and Josh O’Connor in a scene from “Challengers.” (Metro Goldwyn Mayer Pictures via AP)

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This image released by Metro Goldwyn Mayer Pictures shows Zendaya in a scene from “Challengers.” (Metro Goldwyn Mayer Pictures via AP)

This image released by Metro Goldwyn Mayer Pictures shows Zendaya, left, and Josh O’Connor in a scene from “Challengers.” (Metro Goldwyn Mayer Pictures via AP)

This image released by Metro Goldwyn Mayer Pictures shows Mike Faist, left, and Josh O’Connor in a scene from “Challengers.” (Metro Goldwyn Mayer Pictures via AP)

This image released by Metro Goldwyn Mayer Pictures shows Mike Faist, left, and Zendaya in a scene from “Challengers.” (Metro Goldwyn Mayer Pictures via AP)

“Challengers” is a bit of a tease. That’s what makes it fun.

There is plenty of skin, sweat, close-ups of muscly thighs and smoldering looks of lust and hate in this deliriously over-the-top psychodrama. But get that image of Josh O’Connor, Zendaya and Mike Faist sitting together on the bed out of your mind. Most of this action takes place on the tennis court.

It’s still a sexy tennis movie about friendship, love, competition and sport set to a synth-y score from Trent Reznor and Atticus Ross — it just might not contain exactly what you think it does. But remember, Luca Guadagnino is the one who filmed Timothée Chalamet with that peach, perhaps more memorable than any actual sex scene from the past decade. Manage expectations, but also trust.

And like “Call Me By Your Name” did for Chalamet, “Challengers” is one of those rare original big-screen delights that firmly announces the arrival of a new generation of movie stars. Zendaya and Faist already had a bit of a leg up. She has played significant supporting roles in some of the biggest movies of the past few years, from “Spider-Man” to “Dune,” and he had had his big cinematic breakthrough as Riff in Steven Spielberg’s “West Side Story.” But it’s O’Connor who really comes out on top, effectively shedding any lingering image of him as a whiny, dweeby Prince Charles in seasons three and four of “The Crown.” In “Challengers,” his Patrick Zweig is the cocky, flirty, slightly mean, slightly dirty and slightly broken bad boyfriend of our fictional dreams.

Written by playwright Justin Kuritzkes (who is married to “Past Lives” filmmaker Celine Song) “Challengers” is a prickly treat, about fractured relationships, egos, infidelity and ambition. Set during a qualifying match at the New Rochelle Tennis Club, outside New York City, the intricately woven story reveals itself through flashbacks that build to a crescendo in the present-day match.

O’Connor’s Patrick and Faist’s Art are old boarding school roommates turned tennis teammates. It’s a relationship that’s at turns brotherly, erotic and competitive. Whatever it is, they are definitely too close and not remotely prepared for Zendaya’s Tashi Duncan to enter the mix.

Tashi, in high school, is well on her way to becoming the next big tennis superstar. Art and Patrick watch her play, mouths agape at her technical form and physical beauty. Later, they both ask for her number, leading to a revealing night in a grungy hotel room. She promises her number to the one who wins the singles match the next day. Tashi just wants to see some good tennis, she says, but she also knows how to motivate and manipulate.

Mike Faist, left, and Josh O’Connor in a scene from “Challengers.” (Metro Goldwyn Mayer Pictures via AP)

Because of the fractured timeline, we know that Tashi in the present day does not play tennis anymore. She was injured at some point and never recovered, unlike her husband, Art, who is now one of the most famous players in the world. The two of them are wildly wealthy, living in a ritzy hotel and fronting Aston Martin ad campaigns. At night, Tashi uses Augustinus Bader cream to moisturize her legs. Guadagnino, who likes to wink at and luxuriate in wealth signifiers, enlisted JW Anderson designer Jonathan Anderson to do the costumes, which will surely populate summer style inspiration boards the way his “A Bigger Splash” and “Call Me By Your Name” have in the past.

But while they are technically at the top, Art is also on a losing streak, so Tashi sends him to a low-stakes tournament where he can get his confidence back. That’s where they encounter Patrick, who has not been so fortunate over the years and who has fallen out with his old friends. Of course, it’s all building to Patrick and Art playing one another in the final match, a part of which is so wildly and comically drawn out that you can almost envision the “Saturday Night Live” spoof.

Zendaya in a scene from “Challengers.” (Metro Goldwyn Mayer Pictures via AP)

“Challengers” is a drama, but a funny and self-aware one. It doesn’t take itself very seriously and has a lot of fun with its characters, all three of which are anti-heroes in a way. You might have a favorite, but you’re probably not rooting for anyone exactly — just glued to the screen to see how it all plays out on and off the court.

“Challengers,” an MGM release in theaters Friday, is rated R by the Motion Picture Association for “language throughout, some sexual content and graphic nudity.” Running time: 131 minutes. Three and a half stars out of four.

Rebel Moon 2 Is Officially Zack Snyder's Worst Movie

T he reviews for "Zack Snyder's "Rebel Moon -– Part Two: The Scargiver" have been tallied, and the recently released Netflix science fiction epic is officially the worst-reviewed movie of the filmmaker's career, according to Rotten Tomatoes .

The "Rebel Moon" sequel continues the adventures of Kora (Sofia Boutella) as she teams up with several rebels, including Titus (Djimon Hounsou), a former soldier, to take down the evil Imperium empire of the Motherworld. Snyder compared the ambitious nature of the sci-fi universe to his answer to "Star Wars," with the movie touching on similar themes of rebellion and the fight between good and evil. Unfortunately for the director, the franchise is off to a rocky start, with both "Rebel Moon: Part One - A Child of Fire" and its sequel getting largely negative reviews from critics. 

At the time of this writing, the second installment sports a 16% critics score, with 77 reviews logged so far on the review aggregator site Rotten Tomatoes. That is slightly worse than the 21% score for "Rebel Moon," which got some of the worst critic reviews of Snyder's career . Meanwhile, the audience score for the film is 53%, a similar bump down from the first film's 58% score. Rotten Tomatoes Critic Consensus was also unkind to the project, noting, "Less a course correction than a compounding of everything that tangled up its predecessor, The Scregiver is an uninvolving space opera full of flat notes."

Read more: Deleted Scenes That Probably Would've Made These Movies R-Rated

How Does Rebel Moon Part 2 Compare To Zack Snyder's Other Films?

Zack Snyder's films have long had a unique relationship with Rotten Tomatoes. While films from early in his career like "Dawn of the Dead" (65% critics/77% audience), "300" (61%/71%), and "Watchmen" (65%/71%) performed solidity, there's generally been a pretty significant discrepancy between how reviewers and viewers have scored his movies. For example, "Batman v. Superman: Dawn of Justice" was torched by critics with a 29% score, but audiences seemed to enjoy it much more with a 63% rating. "Man of Steel" has a nearly 20% higher audience score, with 56% registering positive reviews, compared to a 75% audience score. Even his previously worst-reviewed film before either installment of the "Rebel Moon" franchise, "Sucker Punch," has a wide gap with its 22% critics score and 47% audience score.

Snyder's "Rebel Moon -- Part Two: The Scargiver" getting an abysmal critics' score and a mixed-to-slightly-positive audience score starts a new and unfortunate trend for the franchise. According to Snyder, the universe's story is intended to span six films, but it remains to be seen if Netflix will continue to fund more chapters of "Rebel Moon" given its weak critical reception. For those hoping to see more of the world of "Rebel Moon," its future will likely depend on whether it posts strong streaming numbers and how well Zack Snyder's director's cuts — which are set to be three hours each — are received.

Read the original article on Looper

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Rebel Moon: Part Two - The Scargiver

Where to watch.

Watch Rebel Moon: Part Two - The Scargiver with a subscription on Netflix.

What to Know

Less a course correction than a compounding of everything that tangled up its predecessor, The Scargiver is an uninvolving space opera full of flat notes.

Audience Reviews

Cast & crew.

Zack Snyder

Sofia Boutella

Charlie Hunnam

Cleopatra Coleman

Anthony Hopkins

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‘Challengers’ Review: Zendaya and Company Smash the Sports-Movie Mold in Luca Guadagnino’s Tennis Scorcher

Josh O’Connor and Mike Faist compete for a fellow player’s heart in a steamy and stylish love triangle from the director of 'Call Me by Your Name.'

By Peter Debruge

Peter Debruge

Chief Film Critic

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• ‘Challengers’ Review: Zendaya and Company Smash the Sports-Movie Mold in Luca Guadagnino’s Tennis Scorcher 2 weeks ago

Anyone who’s ever played tennis knows the game starts with love and escalates fast. In Luca Guadagnino ’s hip, sexy and ridiculously overheated “ Challengers ,” the rivals are former doubles partners Art Donaldson ( Mike Faist ) and Patrick Zweig (Josh O’Connor), best friends since the age of 12, who went their separate ways after both players fell for the same woman. Patrick got there first, but Art wound up marrying her — and their sense of competition has only intensified since.

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“I’m no homewrecker,” Tashi teases Art and Patrick the night they meet her, 13 years earlier. Constructed like a tennis competition, Justin Kuritzkes’ screenplay ricochets back and forth through time, asking us to pivot our brains the way audiences do at the movie’s opening challenger match. (In pro tennis, challenger events are like the minor leagues, where second-tier talents prove themselves.) This one frames the film, as Tashi seems torn between her husband and his old partner.

Watching from the stands, their legs splayed indecently wide, the pair ogle Tashi as the wind whips her short skirt up in the air. None of this is accidental: not the way Jonathan Anderson (as in J.W. Anderson, switching from catwalks to costume design in his first feature credit) showcases Zendaya’s gazelle-like legs, not the way DP Sayombhu Mukdeeprom frames the boys’ crotches, and certainly not the moment Patrick squeezes his pal’s leg as Tashi shows them how, at its most beautiful, the game can be an ecstatic experience.

Later that night, at an Adidas-sponsored party for Tashi, the guys take turns trying to get her number. They’re motivated by hormones. She’s more strategic (the sheer control involved in Zendaya’s performance is astonishing, transforming this would-be trophy into the one who sets the rules). “You don’t know what tennis is,” Tashi challenges Patrick, going on to explain, “It’s a relationship.” Lines like this, which spell everything out in blinking neon lights, run throughout Kuritzkes’ script. But Guadagnino’s execution is all about subtext, calibrating things such that body language speaks volumes.

The same goes for what promises to be the year’s hottest scene, back in the boys’ hotel room, as Tashi sits on the bed between the two and coaxes — or coaches — them to make out. “Challengers” is not a gay film per se, but it leaves things ambiguous enough that one could read it like Lukas Dhont’s recent “Close,” about a friendship so tight, the boys’ peers tease them for it.

Over the course of 131 minutes, “Challengers” volleys between what amounts to a romantic rematch and intimate earlier vignettes. At all times, even off-screen, Tashi remains the fulcrum. In the present, Art — whose torso shows signs of multiple surgeries — has been on a cold streak, which betrays a loss of passion for the game. Passion’s no problem for Patrick, who’s more confident in both his swing and his sexuality.

The film calls for intensely physical performances from the two male actors, who both appear wobbly and exhausted by the end. Faist (a Broadway star whom “West Side Story” introduced to moviegoers) has a relatively traditional character arc, patiently waiting his turn and evolving as the timeline progresses. O’Connor (whose smoldering turn in gay indie “God’s Own Country” got him cast on “The Crown”) comes across as animalistic and immature by comparison, as his bad-boy character refuses to grow up or give up.

Another filmmaker might have subtracted himself in order to foreground the story, whereas Guadagnino goes big, leading with style (and a trendy score from Trent Reznor and Atticus Ross). In keeping with the athletic theme, he does all kinds of wild things with the camera, including a composition framed from the umpire’s perspective mid-court that zooms along the net to find Tashi in the crowd. Occasionally, she and other characters smack the fluorescent yellow balls directly at the screen, making us flinch in our seats. By the end, “Challengers” has assumed the ball’s POV — or maybe it’s the racket’s — as Guadagnino immerses audiences in the film’s climactic match.

Far from your typical sports movie, “Challengers” is less concerned with the final score than with the ever-shifting dynamic between the players. The pressure mounts and the perspiration pours, as the pair once known as “Fire and Ice” face off again. Whether audiences identify as Team Patrick or Team Art, Guadagnino pulls a risky yet inspired trick, effectively scoring the winning shot himself.

Reviewed at AMC Century City 15, Los Angeles, April 9, 2024. MPA Rating: R. Running time: 131 MIN.

• Production: Amazon MGM presentation of a Why Are You Acting?, Frenesy Films, Pascal Pictures production. Producers: Amy Pascal, Luca Guadagnino, Zendaya, Rachel O’Connor. Executive producers: Bernard Bellew, Lorenzo Mieli, Kevin Ulrich.
• Crew: Director: Luca Guadagnino. Camera: Sayonbhu Mukdeeprom. Editor: Marco Costa. Music: Trent Reznor, Atticus Ross. Music supervisor: Robin Urdang.
• With: Zendaya, Josh O’Connor, Mike Faist.

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