The Alto Knights Review: This Mob Drama Fails to Hit the Mark

Barry Levinson’s The Alto Knights promises a gripping look at the power struggle between two of the most influential Mafia bosses of the 1950s, Vito Genovese and Frank Costello. With legendary actor Robert De Niro taking on both roles, expectations were naturally high for a film that could provide an immersive and electrifying take on organized crime history. Add to that a script penned by Goodfellas writer Nicholas Pileggi, and the ingredients for a classic mob movie were seemingly in place. However, despite its promising premise, The Alto Knights ultimately struggles to find its footing, delivering a disjointed and underwhelming narrative that fails to leave a lasting impact.

A Story That Never Fully Takes Shape:

The film’s premise is simple yet inherently dramatic: when Vito Genovese orders a hit on Frank Costello, the latter barely survives and must navigate an increasingly dangerous world as he attempts to retire from the Mafia. This conflict should have served as a tense and engaging backdrop for a compelling character study of these two powerful men. However, The Alto Knights is plagued by a meandering narrative that never fully capitalizes on its dramatic potential.

Rather than focusing on the intense rivalry between Genovese and Costello, the film frequently veers off into subplots that add little depth to the story. For example, we spend an unnecessary amount of time on Costello’s domestic life with his wife, Bobbie (Debra Messing), in scenes that feel redundant and overly sentimental. Meanwhile, Genovese’s marriage to Anna (Kathrine Narducci) is touched upon but never explored with enough substance to make it meaningful.

Cosmo Jarvis as Vincent Gigante and Michael Rispoli as Albert Anastasia offer solid performances, but their characters are similarly underdeveloped. Gigante, in particular, is set up as an important player in Genovese’s world, yet his arc feels rushed and incomplete. There’s a lack of tension throughout the film, making what should be a pulse-pounding Mafia drama feel like a collection of loosely connected events rather than a cohesive, engaging narrative.

Robert De Niro’s Dual Performance:

One of the film’s major selling points is Robert De Niro’s portrayal of both Vito Genovese and Frank Costello. Given De Niro’s history with mob films, it’s no surprise that he delivers strong performances in both roles. He successfully distinguishes between the two characters, giving Costello a world-weariness and quiet authority while making Genovese more aggressive and power-hungry.

However, the film’s direction and editing choices undermine the effectiveness of this dual performance. Scenes that should highlight the contrast between Genovese and Costello often feel disjointed due to awkward pacing and uninspired cinematography.

At times, it feels as though De Niro is acting in two separate films rather than embodying two opposing forces within the same story. Without a strong narrative structure to support his efforts, even his best moments struggle to carry the film beyond its shortcomings.

A By-the-Numbers Mob Drama:

One of The Alto Knights’ biggest failings is its inability to bring anything new to the table in a genre that has already been explored to perfection in films like The Godfather and Goodfellas. The film plays out in a predictable manner, adhering to the typical mob movie beats without injecting any real energy or innovation.

For instance, the attempted assassination of Costello—a pivotal moment in real-life Mafia history—should have been a nerve-wracking, expertly crafted sequence. Instead, it feels surprisingly muted, with little suspense or stylistic flair to make it stand out. The same can be said for moments of betrayal and power shifts; they unfold without the gravitas or tension needed to make them truly impactful.

Moreover, the dialogue, while serviceable, lacks the sharpness and wit that made Pileggi’s previous works so compelling. Characters deliver exposition-heavy lines that feel unnatural, and there’s a noticeable absence of memorable exchanges or quotable moments.

Direction and Cinematography:

Barry Levinson is no stranger to crafting compelling dramas, but his direction here feels uninspired. The film lacks a distinctive visual style, relying on a muted color palette and conventional shot compositions that fail to elevate the storytelling. Compared to the dynamic cinematography of Casino or the immersive grittiness of The Irishman, The Alto Knights feels visually bland.

The pacing is another major issue. The film often drags in its quieter moments, yet rushes through crucial developments. Key power struggles between Costello and Genovese are resolved too quickly, robbing them of their dramatic weight. There’s a sense that the film is trying to cover too much ground without giving any particular aspect the time or attention it deserves.

Supporting Cast:

While De Niro is the clear focal point, the supporting cast features talented actors who, unfortunately, aren’t given much to work with. Debra Messing’s portrayal of Bobbie Costello has moments of emotional depth, but her character feels underutilized, largely relegated to standard worried-wife scenes. Similarly, Kathrine Narducci as Anna Genovese is given little screen time to explore the complexities of her character’s relationship with Vito.

Cosmo Jarvis as Vincent Gigante shows potential, but the film fails to develop him into the formidable figure he eventually became in real life. Michael Rispoli as Albert Anastasia brings an authoritative presence, but his character’s fate is handled in a way that lacks the intensity it deserves.

Overall:

The Alto Knights had all the ingredients to be a standout entry in the mob movie genre, but it ultimately falls flat due to weak storytelling, uninspired direction, and a lack of tension. Robert De Niro delivers a commendable dual performance, but even his talents can’t save a film that struggles to make a lasting impression.

The movie’s biggest sin is that it never feels essential. Unlike The Irishman, which provided a reflective take on aging and the consequences of a life in crime, or Goodfellas, which injected energy and style into every scene, The Alto Knights lacks a clear identity. It’s not a terrible film, but it’s a forgettable one—especially in a genre filled with far superior entries.

For die-hard fans of mob movies, there are moments of intrigue and solid performances to appreciate, but overall, The Alto Knights is a missed opportunity.