Like Jules Dassin's classic caper movie "Rififi" on which Mr. Oz seems to borrow, the dialogue is kept to a minimum, though unlike the predecessor there is no a long period characterized by a complete absence of talk. The action centers principally on the relationship between two pros, though the younger one is by nature of his hormones more excitable than the calmer middle- aged swindler. Robert De Niro and Edward Norton star as Nick Wells and Jack respectively, the former as the owner of a well- appointed jazz club in Montreal's Vieux Carre, the latter as assistant janitor on the graveyard shift in the heretofore impenetrable Montreal Customs House. Norton, among the finest actors of his generation, turns rain man, acting the role of a mentally challenged man named Brian with all the tics and postures of a decent guy whose elevator doesn't get near the top floor. The two are brought together by Nick's longtime pal, Max (Marlon Brando), a reliable guy who believes in the slogan that there is honesty among thieves and convinces Nick to participate in one more job. Though Nick had sworn off dishonest labors, he cannot resist six million bucks, his share of the undertaking, notwithstanding the demand of his girl friend Diane (Angela Bassett) that he walk a straight line or she's walking out.

Because the major portion of Kario Salem, Lem Dobbs and Scott Marshall Smith's clever script (which at times can rival David Mamet's), rests on the blueprint for the robbery, the action that takes place at the conclusion is all the more delightful. This is not to say that we're cooling our heels in our theater seats waiting for a breakout: the details are what involve us. We watch three top stars, each representing a different generation of actors, contribute their styles to the grand design: we see how the interplay of these characters shapes the absorbing story. Isn't this what movies about jewel thieves should be like rather than the same ol' formulaic tripe that has the audience a half hour ahead of the performers?