Dual Roles and Flat Humor
Robert De Niro portrays two conflicting mobsters in the new movie.
Wasted Time on Inane Arguments
In a particularly tedious scene of Barry Levinson’s sluggish film, The Alto Knights, Vito Genovese (De Niro) gets into a loud argument with his brawny driver, Vincent Gigante (Cosmo Jarvis), about whether Palmyra, NY, is the birthplace of Mormonism. Despite the fact that it is, Vito, a hotheaded narcissist, almost chokes Vincent during the dispute. The drawn-out scene features awkward humor and excessive shouting, serving as a metaphor for the film as a whole—a tedious and clumsy attempt to engage with the mob genre.
A Bizarre Showcase
Essentially, the film appears to be a lackluster display of De Niro taking on the roles of mobster frenemies. Much like his character Frank Sheeran in The Irishman, De Niro’s dual role as Frank Costello and Vito Genovese attempts to make a commentary on mafia lore intertwined with American history. However, the black-and-white still photos interspersed throughout feel more like a student’s rushed project on Prohibition-era America, rather than a meaningful artistic choice.
Character Dynamics
Costello and Genovese view themselves as guardians of the American dream. Growing up together in minor criminal activities leads them into lives of organized crime. Genovese is ruthless with few moral considerations, while Costello perceives himself as a more principled leader. This moral self-justification is voiced in a frequent and unclear voice-over that leaves audiences questioning to whom Costello is speaking. Set in New York during 1957, The Alto Knights is strikingly inert, focusing on Costello’s failed attempts to retire after Genovese puts out a hit on him—a plotline that suffers from excessive backroom talks and sporadic violent acts.
A Legendary Actor’s Lack of Presence
While Robert De Niro’s status as a legendary actor remains intact, The Alto Knights should ideally be a minor footnote in his career—an experience largely forgettable. As Costello, De Niro appears lifeless, mumbling self-serving dialogue, which only highlights his character’s supposed moral superiority. His life revolves around his commitment to his wife, Bobbie (Debra Messing), who serves as a somewhat jarring element with her exaggerated New York accent.
Questionable Creative Intent
The film raises questions about Levinson’s intentions, feeling like a lethargic mix of clichés taken from mafia films, as if generated by an AI trained on such narratives. It seems as if screenwriter Nicholas Pileggi—known for classics like Goodfellas and Casino—attempted a half-hearted revival of past work without the same passion. Given that many behind-the-scenes talents are in their nineties, the film’s sluggishness is perhaps unsurprising. In attempting to portray Costello’s desire to exit the crime scene, the filmmakers inadvertently present a compelling argument for retiring the entire genre.
Film Details
Title: The Alto Knights
Distributor: Warner Bros
Release Date: March 21, 2025
Director: Barry Levinson
Screenwriter: Nick Pileggi
Cast: Robert De Niro, Debra Messing, Cosmo Jarvis, Kathrine Narducci, Michael Rispoli, Michael Adler, Ed Amatrudo, Joe Bacino, Anthony J. Gallo, Wallace Langham, Louis Mustillo, Frank Piccirillo, Matt Servitto, Robert Uricola
Rating: R
Running Time: 2 hours
