The Alto Knights Review: Robert De Niro Can’t Save Gangster Movie

Robert De Niro has defined modern gangster films for decades. The Alto Knights are in many ways an extension of its heritage. Director Barry Levinson’s film dramatically changes the real-life power struggle between mafia bosses Vito Genovese and Frank Costello, with De Niro taking on both roles. It’s a premise that suggests a fierce, character-driven crime epic, but De Niro’s presence remains formidable as ever, but Alto Knights never rises at all on this occasion. If it’s too late to gain momentum and familiarity with storytelling, the film ultimately feels like an uninspired entry in the genre that has already given De Niro at his best.

At the heart of the film is the clash between Genovese and Costello, where two men fight for control of the mafia’s highest class. When Vito orders Frank to hit with a bid for power, Costello barely survives, causing a dangerous game of survival and retaliation. The tension between these two numbers should be obvious, and sometimes the film captures the weight of their history and the interests associated with them. However, Alto Knights does not dig deep enough into their character to truly resonate the conflict.

De Niro’s dual performance is, of course, a highlight of the film. He differentiates Vito and Frank Well. Vito is more calculated and aggressive, but Frank carries himself with quieter and global confidence. His voice is also slightly different for each role. However, despite the differences between mannerism and speech, the film is less useful to visually distinguish them, and it feels like you’re watching the performance dress-up of the same actor rather than two different historical figures who share the screen.

One of the Altonites‘ The most unique stylistic choice is the use of direct camera narration. Throughout the film, we often cut to De Niro, who tells the event as if this was a documentary. He certainly has a gravita to separate this kind of storytelling, but the framing device itself feels like it’s undeveloped. The film does not justify why this approach was chosen. As a result, it feels more like an obligatory way to offer an exposition than an attractive stylistic choice. If the filmmakers had made this framing device more weight, they probably tied it down to an emotional beat – not a way to bridge the gaps in the story, they might have felt it was more essential to the film.

Beyond De Niro’s performance, the film struggles with pacing. Early setups take too long and prolonged character introductions and minor power plays, before actual conflicts gain traction. When Goodfellas and Casino hook the audience early with kinetic energy and a sense of immersive placement, the Alto Knights move at a slower, urgent pace. Once tensions rise, they never reach the level of suspense and danger needed to make this power struggle attractive. Cinematography and production design effectively recreates the New York era of the 50s, but the film lacks a strong visual identity that stands out from other mob dramas.

There is no particular effect on the final act. By the time the power struggle reaches a conclusion, the film has not built up enough momentum to satisfy the solution. Unlike the Irish, who used runtime to reflect the outcomes of criminal life, Altonite simply runs out of steam and shruggs rather than vans. For all its historical roots, the film never feels essential or particularly insightful to the story.

Despite its flaws, the Order of Alto is not completely without merit. There are moments when the film temporarily brings life, especially during the final act of increasing the suspense we wanted. However, these moments are fleeting and lost in films that feel like they are experiencing movement rather than carving their own identity. Support casts do their best with the material, but none of them are given enough depth to leave a lasting impression. Above all, this film feels like an opportunity to miss out on. At the heart of this, there is a fascinating story of reality, but Altonites You never find a way to feel urgently.

Alto Knights Review: Final Verdict

Ultimately, the Altonites is a film carried by De Niro’s persistent screen presence, but that’s not enough. It is a capable but uninspired addition to the gangster film Canon, and lacks the energy and depth of the film that made De Niro a legend in the first place. For fans of this genre, it’s interesting to see him take on these two historical roles, but compared to his past works, this feels like a small footnote, not a definitive performance.

Score: 5/10

As Comingsoon’s review policy explains, a score of 5 corresponds to “mediocre.” Positives and negatives are denied by each other and they are washing them.