Robert De Niro is back in the mobster game with his latest film, The Alto Knights, where he dazzlingly takes on a dual role as two iconic figures from the criminal underworld. De Niro plays both Frank Costello and Vito Genovese, real-life childhood friends who became feared mafia bosses in the tough landscape of 1950s New York.
In this much-anticipated release, hitting cinemas on March 21, 2025, audiences are treated to a fascinating yet flawed examination of the complex rivalry between Costello and Genovese. Their story is eclipsed by the significant event of 1957 when a failed hit on Costello pushed him into retirement, while Genovese sought to secure his position as the 'capo di tutti capi' (boss of all bosses). The film presents this backdrop with a style that has earned both applause and criticism.
Directed by Barry Levinson and featuring a script penned by the renowned Nicholas Pileggi, known for his work on Goodfellas and Casino, the film aims to deliver a gritty tale that resonates with the legacy of the American gangster narrative. Yet, early reviews indicate that while De Niro’s performance may shine, the overall execution of the film feels lacking.
Both characters require an impressive range, yet the film has been critiqued for its reliance on visual effects to create interactions between De Niro's dual roles. Reviewers remarked that the initial excitement quickly dissipates as the film unfolds. One critic noted, "When he sits down facing himself for a pow-wow in an empty café, we’re only alert to the technique." This implies a disengagement; the innovative concept does not translate into memorable cinema.
As Frank Costello, De Niro is portrayed as being perpetually on the backfoot, bringing little dynamism to the character’s persona. On the other hand, as Vito Genovese, viewers witness a more aggressive disposition, painted with Pesci-like aggression. Critics noted that though the characters differ in style, some of De Niro’s signature gestures blurred the line between individuality and self-mirroring. As described, "In De Niro’s take on Genovese, it almost seems like he’s doing an imitation of Joe Pesci," which raises questions about the creativity behind such a well-known actor performing against himself.
The film, however, also features a commendable cast apart from De Niro. Debra Messing plays Bobbie, Frank’s wife, who brings depth with her portrayal of a woman grappling with the respectability of her marriage amidst doom-laden circumstances. Audiences found her multi-faceted performance refreshing against the more predictable portrayals surrounding the male leads.
Adding to the intrigue, the film’s structure incorporates wordless black-and-white footage to depict flashbacks, a strategy that the filmmakers employed to navigate the challenges of showcasing De Niro’s considerable age difference with the characters. Such stylistic choices, while creative, have also been a point of contention among viewers and critics alike, with many feeling these elements distract from the narrative flow.
While the film does delve into key events—most prominently the botched hit and subsequent ramifications—the storytelling is described as feeling somewhat disjointed. Another review pointed out that apart from the hit, the film lacks major milestones, leaving viewers with merely exposition-laden scenes that stretch on without a palpable sense of urgency.
As exhibition of crime cinema, The Alto Knights straddles the line between homage and parody, effectively leading audiences to reflect on why the dynamics between Costello and Genovese hold historical significance yet feeling as though the film skims the surface rather than digs deeply into the human truths within this tale of betrayal.
In summary, while Robert De Niro’s performances as both Costello and Genovese offer moments of brilliance, the feedback indicates that the film may not reach the heights of classic mobster films, nor does it achieve a connecting thread that would resonate beyond its runtime. Critics suggest that the billing does not entirely hold up against the weight of De Niro’s previous accolades in similar roles.
As The Alto Knights steps into the ring, audiences may find themselves rooting for moments of a lush narrative filled with texture and character rather than merely marveling at De Niro’s dual role execution. Still, this film offers a rich opportunity for fans of the genre to explore yet another chapter in the storied history of American gangster films. So, are viewers eager to step back into the world of mob drama? Only time will tell if The Alto Knights will capture their imagination or fade quietly into the night.
