Summary
Barry Levinson packs in mob movie essentials—whispered threats, sudden violence, and double De Niro—though its polished period detail can’t disguise the déjà vu.
Barry Levinson’s mobster saga boasts such deep genre pedigree that they’ve cast Robert De Niro twice. With a script by Goodfellas and Casino scribe Nicholas Pileggi and a story inspired by the real-life power struggle between crime bosses Vito Genovese and Frank Costello, this is, at its core, a throwback gangster flick—or at least an attempt at one.
Levinson opens with the botched assassination attempt on Costello (De Niro), adopting an almost documentary-style approach to unravel the rivalry behind the hit. As an aged Costello addresses the camera, archival-style slides and intercut vignettes chart how the ruthless Genovese (also De Niro) returned from Europe after the war, determined to reclaim the boss role he once handed to Costello. Surviving the attempt, Costello plans to retire—but Genovese isn’t convinced.
It’s a sweeping saga, jumping between hushed conversations, sudden bursts of violence, and congressional hearings. While Costello and Genovese wage their battle, Frank’s wife Bobbie (Debra Messing) and Vito’s on-again-off-again spouse Anna (Kathrine Narducci) largely remain bystanders to their machinations. The film’s whiplash-inducing scene changes can be disorienting, but they keep the momentum brisk.
The dual casting of De Niro in both primary roles doesn’t add much beyond some initial confusion. If you go in unaware, you might find yourself scrutinising Genovese’s heavy makeup just to confirm you’re not seeing double. At times, the film relies on precisely staged booth and table setups to sell the effect. Still, De Niro seems to be having fun getting to play the Joe Pesci character for a change.
Where the film does well is in evoking the era. The Kefauver Committee hearings serve as pivotal moments, though the broader societal implications of the investigation remain largely unexplored. That said, the film is steeped in period detail. Dante Spinotti’s camera captures the crisp neon glow of the streets, reflecting off polished ‘50s cars to create a mostly immersive world.
THE ALTO KNIGHTS is a serviceable mob film, albeit somewhat hampered by our familiarity with the form. As the finale escalates the rivals’ game of one-upmanship into a chaotic car chase, it feels like seasoned creatives tossing out the last of the pot—a well-worn but still flavorful serving of the genre’s staples.
2025 | USA | DIRECTOR: Barry Levinson | WRITER: Nicholas Pileggi | CAST: Robert De Niro, Robert De Niro, Debra Messing, Cosmo Jarvis, Kathrine Narducci, Michael Rispoli | DISTRIBUTOR: Universal Pictures (Australia), Warner Bros. (US) | RUNNING TIME: 123 minutes | RELEASE DATE: 20 March 2025 (Australia), 21 March 2025 (USA)
