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For most of its running time, The Score is less about action and plot than about character interaction and overall mood. Instead of car chases or violence, the film emphasizes the interplay between the actors and the elaborate preparations for the heist. Meanwhile, the film cultivates low-key sophistication through dim lighting, jazz music (including cameo appearances by Cassandra Wilson and Mose Allison), and architectural or other details such as high ceilings and Montreal's cobblestone streets. Unfortunately, the plot is rife with clichés and the characters are both predictable and one-dimensional. It may not be a big surprise that the film ignores the moral issues raised by the protagonist's criminal activities, but it is disappointing that the actors, while occasionally impressive, are not utilized to their fullest ability. Robert De Niro's performance is so understated that you may occasionally forget he's onscreen; Angela Bassett is totally wasted in a small role as the girlfriend who wants her man to settle down; Marlon Brando does a campy rendition of Sydney Greenstreet crossed with Rod Steiger while tossing out odd throwaway lines that sound improvised; and Edward Norton reprises his dual-character shtick from Primal Fear in a performance that impresses more with its sense of humor than its assortment of physical tics. The film is slow-moving and doesn't build much tension until the big heist occurs near the end of the picture; the movie offers some excitement then, but it ends with a twist that's both too abrupt and not surprising enough. Despite the appearance of sophistication, The Score is really just a routine heist film with some prestigious names in the cast.