Portland Oregonian by Barry Johnson

A snappy little heist movie with acting performances both deft and brilliant

Washington Post by Desson Thomson

The best heist flick since "The Usual Suspects," a perfect 10 of a movie.

Variety by Robert Hofler

Meticulously detailed thriller.

Chicago Sun-Times by Roger Ebert

Not a great movie, but as a classic heist movie, it's solid professionalism.

Boston Globe by Jay Carr

Nobody's going to think of The Score as trail-blazing, but there's nothing small-time about its dramatic and acting payoff.

Chicago Tribune by Michael Wilmington

It's a summit meeting between three brilliant leading men from three generations with three striking on-screen personas.

Seattle Post-Intelligencer by William Arnold

It has a terrific retro style, it's well-directed and it makes an engrossing showcase for its trio of stars.

Entertainment Weekly by Owen Gleiberman

A sturdily diverting old fashioned heist thriller that looks like a masterpiece of sheer competence next to the slovenly action fantasy F/X grab bags that have been passing for summer entertainment.

Los Angeles Times by Kenneth Turan

A top-drawer heist movie that ratchets up the tension inch by careful inch, The Score will remind you of classic caper films of the past, and that is a good thing.

L.A. Weekly by Ella Taylor

You begin to wonder whether a story is ever going to show up. When it does, it's worth the wait for a long and well-turned set piece coordinating the heist, and two lovely flips in the plot.

The Film Stage by Jared Mobarak

Poulter and Ackie are so cute together with their acerbic flirtations.

Movie Nation by Roger Moore

The execution is novel, fascinating and just musically/romantically entertaining enough to not totally muck up the suspense that’s built in.

The Irish Times by Tara Brady

The triumvirate of actors at the heart of the film are so committed and so good. The songs are pleasing. The script is clever. There’s a charming Aristilean intimacy about the fixed location. Conversely, there are too many ideas and ambitions here to fit into a low-budget picture.

Time Out by Anna Smith

The Score doesn’t always strike the right notes, but it has its high points thanks to a simple, rewarding romantic arc.

The Guardian by Cath Clarke

The movie noodles along amiably, but in the cold light of day, its quirks begin to feel like flaws.

The New York Times by Amy Nicholson

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.

RogerEbert.com by Nell Minow

The Score is an ambitious effort, a movie that is both a tense crime drama and a musical. Skillful attention has been paid to both elements by writer/director Malachi Smyth and a strong cast. But these elements are never integrated enough to become organic, and never come together to create a satisfying whole.

The Observer (UK)

Electro-folk song interludes (written by Flynn) offer images about rivers and such that might better suit another film – one that doesn’t feel as if it’s waiting for darkness so that it can finally become a noir.

Little White Lies

There’s a sense that Smyth’s writing only works in fits and starts, and all the fractured elements don’t ever quite fit together.

Paste Magazine by Jesse Hassenger

By the end of this movie, its inventive genre cross-breeding feels as worn-out as any other.