The best thing about Frank Oz's film "The Score" is, well, the score. If you close your eyes, Howard Shore's suave, moody music, with its Miles Davis-ish muted trumpets floating over cushions of bass, might create an impression of cool, elegant precision. Frustratingly brief snippets of performances by Cassandra Wilson and Mose Allison certainly enhance the effect. And, to be fair, if you open your eyes at the right moments, like when Ms. Wilson and Mr. Allison are onscreen in the lacquered, dim Montreal jazz club where much of the action takes place, you might mistake "The Score" for a stylish film-noir chamber piece.