- Robert De Niro plays dual roles as rival mob bosses Vito Genovese and Frank Costello
- Film struggles to match Goodfellas' narrative impact despite shared writer Nicholas Pileggi
- Historical liberties taken with 1950s mob power struggle between real-life figures
- Standout scenes include domestic courtroom clash and chaotic rural mob summit
- 120-minute runtime feels sluggish despite strong supporting cast and period aesthetics
Barry Levinson’s Alto Knights attempts to recapture the gritty allure of 90s mafia classics, banking heavily on Robert De Niro’s star power. The actor pulls double duty as real-life crime figures Vito Genovese and Frank Costello, whose friendship-turned-rivalry drives this uneven historical drama. While De Niro’s committed performances shine in isolated moments, the film’s identity crisis between character study and mob epic leaves it stranded in No Man’s Land between prestige drama and HBO special.
Comparisons to Martin Scorsese’s Goodfellas prove inevitable yet unflattering. Though screenwriter Nicholas Pileggi revisits familiar territory of organized crime’s golden era, Alto Knights lacks the propulsive energy and dark humor that defined his earlier collaboration. The decision to cast De Niro in both lead roles creates unintended tonal whiplash - one moment we’re gripped by a brutal assassination attempt, the next we’re chuckling at gangsters in matching fur coats fleeing through cornfields.
Modern filmmakers face unique challenges when revisiting the mafia genre. Unlike The Irishman’s digital de-aging experiments, Alto Knights relies on practical makeup to distinguish its dual protagonists. This approach grounds the performances but creates visual confusion in shared scenes. Industry observers note the film’s 20-year development hell might have benefited from Pacino’s participation, creating Heat-style chemistry rather than De Niro’s solo act.
The film’s strongest sequences showcase Levinson’s knack for tense political theater. A Senate hearing where Costello outmaneuvers prosecutors channels classic Hollywood courtroom drama, while Genovese’s explosive divorce proceedings reveal the human cost of mob life. These moments suggest a tighter character-driven thriller lurking within the bloated runtime.
Supporting cast members elevate uneven material. Kathrine Narducci delivers awards-worthy work as Genovese’s embittered wife Anna, particularly in a late-film confrontation that recontextualizes their toxic marriage. Debra Messing’s turn as Costello’s long-suffering spouse provides emotional ballast, though the script underutilizes her character’s potential insights into mob domesticity.
Production designers deserve special recognition for recreating 1950s New York’s criminal underworld. From the chrome-accented nightclubs to the bloodstained wool overcoats, every period detail reinforces the story’s historical context. The Pennsylvania-filmed mob summit sequence demonstrates this meticulous approach, blending rural Americana with imported Italian decadence until police intervention sparks darkly comic chaos.
While Alto Knights ultimately falls short of its ambitions, it offers enough compelling moments to satisfy diehard gangster film fans. The project serves as a fascinating case study in Hollywood’s ongoing struggle to update classic genres for modern audiences. As streaming platforms increasingly dominate mid-budget adult dramas, this theatrical release’s commercial performance may influence future mafia film productions.
