A prosthetic-covered Robert De Niro squaring off against another prosthetic-covered De Niro doing his best Joe Pesci impression is more distracting than genius — despite his PhD in gangster films. The Alto Knights is a biographical crime drama that pits two legendary mob bosses — Vito Genovese and Frank Costello — against each other in 1950s New York, both played by a dual-threat De Niro.
Directed by Barry Levinson and written by Goodfellas’ Nicholas Pileggi, the film is a talky, nostalgic dive into a friendship-turned-deadly rivalry.
It kicks off when Vito orders a hit on Costello — who miraculously survives a gunshot to the head and starts considering retirement from the mafia life. But if gangster movies have taught us anything, it’s that getting out is never easy. Once you sell your soul, there’s no refund.
Unlike the usual frenetic rise-to-power mob classics, this one’s about holding onto the throne. And then it turns into a slow, surprisingly dull courtroom crime drama.
The Alto Knights plays out less explosive and more reflective, with Costello’s narration weaving through real historical footage that nods to Mafia lore. What can I say? I’m a sucker for vintage things.
As a proud Ohio native (words I never thought I’d type), I appreciated the film being shot in Cincinnati. Yes, it’s handsomely shot — moody lighting, period-perfect streets, the whole old-timey look down to a T. Cincinnati plays dress-up surprisingly well.
It nails the period vibe, but the pacing drags, and the story feels like a retread — lacking even the spark of The Irishman. It’s a slog, completely missing the punch and energy of a Scorsese film –– which feels like what it wants to be.
Final Thoughts
The Alto Knights is a solid watch for mob buffs, but don’t expect a game-changer — just a competent, slightly tired gangster flick. Also, they should’ve just hired Joe Pesci. Put him and De Niro on screen together and boom — box office doubles, easy.
3/5
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Member of the Columbus Film Critics Association. Lifelong Cleveland fan—yes, even the Browns (send help). I write with blunt honesty, sharp humor, and a conversational tone. I won’t shy away from hard truths, and I’m not afraid to shred your favorite franchise’s latest release if it earns it. I believe in brevity (thank you, Hemingway and Mark Manson) and live by Twain’s rule: “Don’t use a five-dollar word when a fifty-cent one will do.”
To me, movies aren’t just entertainment—they’re reflections of humanity. They show us who we are, who we aren’t, and who we could be. Whether it’s indie gems or big-budget blockbusters, it’s a privilege to witness and write about the stories artists bring to life. I review films on their own terms—no politics, no PR spin. Film is a team effort, and every project deserves either their flowers or a fair, honest critique.