Robert De Niro has spent decades defining the modern gangster movie, and The Alto Knights is, in many ways, an extension of that legacy. Directed by Barry Levinson, the film dramatizes the real-life power struggle between Mafia bosses Vito Genovese and Frank Costello, with De Niro taking on both roles. It’s a premise that suggests an intense, character-driven crime epic, but while De Niro’s presence is as formidable as ever, The Alto Knights never quite rises to the occasion. Too slow to build momentum and too familiar in its storytelling, the film ultimately feels like an uninspired entry in a genre that has already given us De Niro at his best.
At the heart of the film is the clash between Genovese and Costello, two men vying for control of the Mafia’s highest ranks. When Vito orders a hit on Frank in a bid for power, Costello barely survives, setting off a dangerous game of survival and retaliation. The tension between these two figures should be palpable, and at times, the film does capture the weight of their history and the stakes involved. However, The Alto Knights never digs deep enough into their personalities to make the conflict truly resonate.
De Niro’s dual performance is, unsurprisingly, the highlight of the film. He differentiates Vito and Frank well—Vito is more calculating and aggressive, while Frank carries himself with a quieter, world-weary confidence. His voice is also a bit different in each role. However, despite the differences in mannerisms and speech, the film doesn’t do much to visually distinguish them, making it feel as though we’re watching the same actor play dress-up rather than two distinct historical figures sharing the screen.
One of The Alto Knights’ most unique stylistic choices is its use of direct-to-camera narration. Throughout the film, we often cut to De Niro recounting events as if this were a documentary. While he certainly has the gravitas to pull off this kind of storytelling, the framing device itself feels underdeveloped. The film never justifies why this approach was chosen, and as a result, it feels more like an obligatory way to deliver exposition than an engaging stylistic choice. Had the filmmakers given this framing device more weight—perhaps tying it into an emotional beat—it might have felt more integral to the film rather than just a way to fill in narrative gaps.
Beyond De Niro’s performance, the film struggles with pacing. The early setup takes too long, lingering on character introductions and minor power plays before the real conflict gains traction. Where Goodfellas and Casino hook the audience early with kinetic energy and an immersive sense of place, The Alto Knights moves at a slower, less urgent pace. Even once the tension ramps up, it never quite reaches the level of suspense or danger needed to make this power struggle feel as gripping as it should. The cinematography and production design effectively recreate the era of New York in the ’50s, but the film lacks a strong visual identity to make it stand out from other mob dramas.
The final act, in particular, lacks impact. By the time the power struggle reaches its conclusion, the film hasn’t built up enough momentum to make the resolution feel satisfying. Unlike The Irishman, which used its runtime to reflect on the consequences of a life in crime, The Alto Knights simply runs out of steam, ending not with a bang but a shrug. For all its historical roots, the film never manages to make the story feel essential or particularly insightful.
Despite its flaws, The Alto Knights isn’t entirely without merit. There are moments where the film briefly sparks to life, particularly during the final act, where the movie ramps up the suspense we’ve been hoping for. But these moments are fleeting, lost in a film that often feels like it’s going through the motions rather than carving out its own identity. The supporting cast does their best with the material, but none of them are given enough depth to leave a lasting impression. More than anything, the film feels like a missed opportunity—there’s a fascinating real-life story at its core, but The Alto Knights never finds a way to make it feel urgent, instead settling into a well-worn formula that leaves little lasting impact.
The Alto Knights Review: Final Verdict
In the end, The Alto Knights is a film carried by De Niro’s enduring screen presence, but that alone isn’t enough. It’s a competent but uninspired addition to the gangster movie canon, one that lacks the energy and depth of the films that made De Niro a legend in the first place. For fans of the genre, there’s some interest in seeing him take on these two historical roles, but compared to his past work, this feels like a minor footnote rather than a defining performance.
SCORE: 5/10
As ComingSoon’s review policy explains, a score of 5 equates to “Mediocre.” The positives and negatives wind up negating each other, making it a wash.
