Robert De Niro, a well-known face in the cinema world, has ventured into an intriguing dual role in the new mob film titled The Alto Knights. In this film, he plays the complex characters of Vito Genovese and Frank Costello—two real-life mafia bosses synonymous with New York's organized crime history. This latest endeavor comes at a pivotal moment for the actor, now 81, as he remains actively engaged in his craft, demonstrating an impressive ability to maintain both his youthful vigor and professional dedication.
Released on March 21, 2025, The Alto Knights premiered the same weekend as Disney's highly anticipated live-action remake of Snow White, a factor that many believe has contributed to its disappointing opening performance. As of March 22, 2025, the film is projected to earn a mere $3 million during its three-day opening weekend and is forecasted to land outside the weekend’s top five—specifically at sixth place. With a production budget of $50 million, these projected earnings signify an impending financial loss for Warner Bros.
Directly impacted by this outcome is the historical context and trajectory of The Alto Knights, which was originally titled Wise Guys and had been in the making since the 1970s. The film, directed by Barry Levinson and written by Nicholas Pileggi, features De Niro portraying both Genovese and Costello. De Niro's duality in the film serves as a meta-commentary on the intertwined fates and contrasting moral standings of these notorious figures. However, early critics have given the film a decidedly rough reception, leading to a current Rotten Tomatoes score of just 39%, potentially deterring audiences from viewing.
What complicates matters further is the need for films to recoup approximately 2.5 times their production budgets to break even when marketing costs are factored in. Therefore, The Alto Knights would need to gross around $125 million to become financially viable—a daunting task given current projections. This challenge is compounded by the fact that Warner Bros. recently faced another financial setback with the sci-fi movie Mickey 17, which cost $118 million and is expected to absorb a heavy financial hit of up to $80 million.
Despite the current box office struggle, there is a glimmer of hope for the film's performance in the video-on-demand (VOD) and streaming markets. Audience engagement could increase as viewers discover the film through alternative viewing methods, although this will depend upon word-of-mouth and critic responses moving forward. The overall perception of The Alto Knights hinges on how well it can convert interest in home viewing into revenue for the production. This sentiment is particularly vital in light of the competitive nature of the box office landscape.
In The Alto Knights, De Niro explores the complex friendships and rivalries that characterized the darker aspects of American history and organized crime. Despite the film not being helmed by his frequent collaborator Martin Scorsese, it still aims to deliver an engaging narrative by tapping into the rich history of New York's mafia scene. Critics have noted that while there are standout moments within the film—most notably a call-back to the iconic diner scene in Michael Mann’s Heat—the execution feels subpar compared to De Niro's previous acclaimed works in crime dramas. The film suffers from a rushed narrative that could not adequately explore the depth of the relationship between Genovese and Costello, highlighting missed opportunities to deepen the storytelling.
Cinematographer Dante Spinotti—who also worked on Heat—aimed to craft a visually compelling narrative. Yet, the synergy between the performances and storytelling manages only to flicker rather than blaze with intensity. At times, the film lacks the emotional weight needed to resonate with its audience fully, leaving viewers wanting more from the characters that De Niro portrays.
This film's box office struggles, coupled with the critical reception, suggests that The Alto Knights could soon find itself overshadowed by upcoming films like the Blumhouse horror movie The Woman in the Yard or the Jason Statham action flick A Working Man. Each of these competitors appears poised for better performance in what has been an otherwise slow month for cinema releases. The growing trend indicates that smaller films, even those with storied actors like De Niro, may struggle under the adverse circumstances of big-budget marketing and broader recognition.
As The Alto Knights moves forward, questions remain about its long-term success and legacy. With the specter of box office expectations looming overhead, audience reception may dictate whether the film can captivate viewers in its home release or remain a historic keel underwater. Ultimately, it serves as a compelling examination of the cost of promising talent against the realities of cinematic success.
