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. For De Niro and Norton, this is just another paycheck.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.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.
He's a self-parody; a once-great actor who has lost the desire to act and works only for obscene amounts of money.
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.