The Alto Knights Review – Double De Niro, Half the Firepower

Last updated: 27/05/2025 --> Release on DVD/Blu-Ray

TL;DR

Double De Niro, single plot. It’s a slow-burn gangster drama with vintage vibes, gorgeous suits, and more muttering than murder. Stylish but sleepy—like The Godfather fell asleep watching Mad Men.

Right, so imagine this: Robert De Niro, the man who once made us fear the words "You talkin' to me?", now playing not one, but two mob bosses. Yes, two. It's as if someone thought, "You know what this gangster film needs? Double the De Niro." And thus, The Alto Knights was born.

Directed by Barry Levinson, this film attempts to chronicle the power struggle between Frank Costello and Vito Genovese, two real-life mobsters from the 1950s. De Niro portrays both, presumably because the budget didn't allow for another A-lister, or perhaps because he fancied a challenge. Either way, it's a bold move.

Now, let's talk about the plot. It's your standard mafia fare: betrayal, power plays, and the occasional whacking. There's a scene where Costello survives an assassination attempt, only to decide he wants out of the game. Genovese, not buying it, goes on a paranoid rampage. It's like watching a soap opera, but with more guns and better suits.

Speaking of suits, the film nails the period details. The cars, the outfits, the smoky rooms – it's all very atmospheric. But atmosphere alone doesn't make a great film. The pacing is sluggish, and the narrative lacks the punch of classics like Goodfellas or The Godfather.

De Niro's dual performance is commendable, but it's also distracting. There are moments where you're pulled out of the story, thinking, "Wait, is that Frank or Vito?" It's a bit like watching a one-man play when you were expecting an ensemble cast.

In conclusion, The Alto Knights is a film that had potential but didn't quite hit the mark. It's like ordering a steak and getting a well-done burger instead. Satisfying in parts, but ultimately, you can't help but think about what could have been.

🧨 Criminal Mastermind Score (CMS): 64/100

It’s like The Irishman got stuck in a time loop with Boardwalk Empire and The Parent Trap. There’s enough De Niro to fuel a crime family reunion, but it often feels like watching your grandad argue with himself over who forgot to bring the cannoli. Slick suits, brooding stares, and vintage cars do a lot of heavy lifting in this double-don drama that’s got more muttering than murder.

CMS Breakdown

Villain Charisma – 15/20

• De Niro vs. De Niro. It’s basically two weathered pit bulls growling across a dinner table. Frank Costello is all charm and resignation; Vito Genovese is a walking paranoia spiral in a three-piece suit. They’re compelling—if slightly interchangeable after your third espresso. Still, charisma oozes from every wrinkle.

Scheme Complexity – 10/20

• Genovese wants to take over. Costello wants to retire. That’s it. No lasers. No vaults. No dramatic monologue involving sharks. Just a bureaucratic mob coup with the thrill of a tense pension fund meeting. It's like planning world domination with a filing cabinet and a grudge.

Chaos Quotient – 9/20

• Not much explodes. Nobody parachutes into a courtroom. The chaos here is more cold stare across a smoky room than flaming limousine chase through downtown. Sure, there’s some shooting, but it’s all very dignified. Like being assassinated by a waiter who also folds your napkin.

Aesthetic & Atmosphere – 18/20

• Here’s where The Alto Knights flexes hard. The ‘50s ooze off the screen. Cars glint like polished cigars, ties are razor-thin, and everyone smokes like the air itself owes them money. Levinson knows his visual onions, and every scene looks like a museum of organized crime elegance.

Rootability of Evil – 12/20

• Costello wants peace, Genovese wants power, and you kind of want both to get a hug and some vitamin D. You don’t root for them, per se—you respect them, like you would a tiger in a bespoke suit. You wouldn’t invite them to dinner, but you’d let them choose the wine if they showed up.

Final Verdict

The Alto Knights is a mob movie for people who miss landlines, trench coats, and the days when murder was classy. It won’t reinvent the genre, but it parks itself firmly next to the classics—grumbling, smoking, and occasionally drawing a pistol. It’s slow, yes, but also meticulous. Like a hitman that triple-checks his spelling before carving your name into the bullet.

Perfect for

Wearing pinstripes while aggressively whispering about "respect" in your garage full of vintage Buicks.

Avoid if

You require car chases, neon heists, or villains with Bluetooth earpieces and exploding cufflinks.