In The Alto Knights, director Barry Levinson reunites with legendary screenwriter Nicholas Pileggi (GoodFellas, Casino) to chronicle the fall of a friendship and the rise of rivalry between two of New York’s most infamous Mafia figures—Frank Costello and Vito Genovese. With Robert De Niro portraying both leads, the film promises a double dose of gangster charisma. However, while the ingredients seem ideal for a new mob classic, the end result is more reflective than riveting.
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De Niro’s Dual Performance: The Film’s Ace
It’s impossible to talk about The Alto Knights without spotlighting Robert De Niro, whose portrayals of both Costello and Genovese are impressively distinct. As Costello, De Niro exudes weary sophistication—measured, calculated, and world-weary. As Genovese, he brings an explosive, impatient rage to the table, making it clear that one man values legacy while the other craves dominance.
De Niro’s craftsmanship in switching between the two roles is genuinely compelling. His nuanced performances lend credibility to what might otherwise feel like a cinematic gimmick. In many scenes, especially when both characters appear in the same frame, it’s easy to forget you’re watching the same actor. This alone is worth the price of admission for fans of his work.
Script & Story: Intriguing Setup, Unfulfilled Payoffs
Nicholas Pileggi’s script sets the stage for a gripping tale of betrayal, ambition, and shifting loyalties. Unfortunately, while the setup is promising, many of the scenes feel like buildup without a satisfying payoff. Dialogue that seems to foreshadow major developments often fizzles out into inconsequential exchanges, lending the film a feeling of missed opportunities.
For much of the runtime, there’s a sense that something monumental is about to unfold, but it rarely does. It’s like sitting in on a high-stakes chess match where the players talk a lot but only make a few decisive moves.
This is perhaps the film’s biggest flaw: it talks the talk but doesn’t always walk the walk.
Classic Mafia Vibes: Atmosphere Over Action
There’s no denying that The Alto Knights captures the texture of old-school Mafia films. From its smoky backrooms and sharply tailored suits to whispered threats and sudden violence, it feels authentically entrenched in the era. Barry Levinson leans into a slow-burning, brooding tone rather than fast-paced action, which works in places but causes the story to drag in others.
Fans of gangster epics will appreciate the film’s adherence to tradition, but those expecting the kinetic energy of GoodFellas or Casino may find themselves checking the clock midway through.
Supporting Cast: Solid but Overshadowed
Debra Messing, Kathrine Narducci, Cosmo Jarvis, and Michael Rispoli round out the supporting cast with respectable performances, though most remain in De Niro’s shadow. Narducci, a familiar face from The Sopranos and The Irishman, brings emotional gravitas to her scenes, while Rispoli delivers reliable tough-guy energy.
Still, none are given enough screen time or depth to fully make their mark. The ensemble does its job, but this is unequivocally De Niro’s show.
Themes & Takeaways: Power, Legacy, and the Inevitable Fall
At its core, The Alto Knights is a story about the illusion of loyalty and the cost of ambition. It reflects on how even the closest alliances can dissolve under the weight of power struggles and bruised egos. The tragedy isn’t in the betrayal itself, but in the slow realization that it was always inevitable.
These themes resonate, even if the delivery isn’t always sharp. You get the sense that Pileggi and Levinson aimed for a cautionary tale as much as a crime drama, and in that sense, the film works, just not as powerfully as its predecessors.
Direction & Cinematography: A Slick Period Piece
Barry Levinson brings his seasoned eye to the project, and visually, the film doesn’t disappoint. There’s a deliberate, almost painterly composition to many scenes, particularly during pivotal confrontations. The cinematography leans on warm, moody tones that give the film a nostalgic glow, further immersing the viewer in its 1940s-50s setting.
However, while it looks the part, the direction sometimes lacks urgency. Scenes unfold methodically, but with little narrative propulsion. It’s a film you admire more than you feel.
Final Verdict: A Watchable, If Uneven, Mob Tale
The Alto Knights is far from a bad movie—it’s competently made, features an impressive lead performance (or two), and captures the spirit of a bygone era of organized crime. But it’s also far from a great one. The dialogue often feels like it’s building to something bigger that never quite arrives, and the film struggles to justify its slower pace with satisfying dramatic moments.
For fans of the genre, it’s an enjoyable—if somewhat muted—addition to the Mafia movie canon. For casual viewers, it may serve better as background ambiance than a captivating front-and-center experience.
About “The Alto Knights”
Synopsis: Two of New York City’s most notorious organized crime bosses vie for control of the city’s streets. Once best friends, petty jealousies and a series of betrayals set them on a deadly collision course.
Director: Barry Levinson
Writer: Nicholas Pileggi
Cast: Robert De Niro, Debra Messing, Kathrine Narducci, Cosmo Jarvis, Michael Rispoli
Rated: R
Runtime: 2h 3m
Releases: March 21, 2025
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