What Genre Does 'The Score' Belong To?

'The Score' is a slick mix of crime thriller and heist drama with a dash of romance. The story follows a master thief pulled into one last job, packed with tense negotiations, intricate planning scenes, and explosive action sequences. What stands out is how it balances the high-stakes heist elements with character-driven moments, especially the protagonist's turbulent relationship with his ex-girlfriend, who happens to be the daughter of a crime boss. The film's pacing and cinematography scream 'modern noir,' with moody lighting and a killer jazz soundtrack that amplifies the tension. If you enjoy films like 'Ocean's Eleven' or 'The Town,' this one’s right up your alley.

From a structural standpoint, 'The Score' defies easy genre classification. It’s primarily a heist film, no question—the entire third act revolves around an elaborate burglary of a priceless sceptre from a high-security vault. But the first half plays more like a character study, exploring the protagonist’s reluctance to return to crime and his strained mentorship with an ambitious younger thief. The dialogue-heavy scenes between De Niro and Norton could be lifted straight from a psychological drama.

Where it gets interesting is the subtle genre-blending. There’s a romantic subplot that isn’t just tacked on; it directly impacts the heist’s outcome, blending relationship stakes with the criminal plot. The film also incorporates elements of a 'one last job' narrative, complete with the inevitable betrayals and double-crosses. The director, Frank Oz, deliberately avoids glamorizing the heist genre—the actual robbery is methodical, almost procedural, focusing on the mechanics of lock-picking and security systems rather than flashy set pieces. This grounding in realism makes it feel closer to 'Rififi' than 'Mission: Impossible.'

Watching 'The Score' feels like attending a masterclass in genre fusion. On the surface, it’s a heist movie—blueprints, safecracking, the whole nine yards. But peel back the layers, and you’ll find a gritty character drama about loyalty and aging. De Niro’s character isn’t some invincible criminal; he’s a weary veteran questioning his life choices. The film’s tension doesn’t just come from whether the heist succeeds, but whether the protagonist can reconcile his past with his dwindling future.

Then there’s the setting: Montreal’s seedy underbelly, shot with this oppressive, almost claustrophobic aesthetic. It borrows from neo-noir’s playbook—shadowy alleys, morally gray characters—but ditches the voiceovers and femme fatales. Instead, it leans into the heist crew’s interpersonal dynamics, making their conflicts as compelling as the actual robbery. The jazz club scenes aren’t just ambiance; they mirror the improvisational nature of the heist. Even the score (no pun intended) switches between tense electronic beats and smoky trumpet solos, mirroring the genre-blending on screen.