Metacritic reviews

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

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

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

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

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.

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.

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.

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.

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