Robert De Niro’s Gangster Flop: The Alto Knights Fails to Impress

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For over seven decades, Robert De Niro has left an indelible mark on numerous film genres, yet he will forever be recognized as a cinematic legend primarily associated with gangster films. From “The Godfather Part II” to “Once Upon A Time In America,” “The Untouchables,” and “Goodfellas,” among others, his performances have significantly shaped the narrative of organized crime in cinema, a fact that cannot be overlooked in his body of work.

The Alto Knights

Launch Date: 21st March, 2025

At the Helm: Barry Levinson

Screenplay By: Nicholas Pileggi

Lead Cast: Robert De Niro, Debra Messing, Cosmo Jarvis, Kathrine Narducci, Michael Rispoli

Rated: R due to intense violence and frequent use of strong language

Duration: 120 minutes

If this scenario seems reminiscent, it’s likely due to its resemblance to a movie that was extensively discussed among cinephiles following the release of Martin Scorsese’s “The Irishman” in 2019. At that time, the film was highly acclaimed as it added another epic masterpiece to Robert De Niro’s illustrious career. However, Barry Levinson’s “The Alto Knights,” released six years prior, now seems more like a spoiler rather than a gem in comparison. It’s best not to dwell on the actor’s past work in this genre alongside it, as it fails to bring any positive value to the table.

In addition to Robert De Niro starring in a new gangster film with an intriguing twist – playing two roles – the movie’s main issue lies in the poorly executed gimmick. The plot is weighed down by excessive exposition and moves at a glacial pace, lacking any semblance of excitement. This lackluster narrative falls short, failing to provide even one engaging sequence, despite being produced by renowned filmmakers Martin Scorsese’s collaborator, Barry Levinson, and screenwriter Nicholas Pileggi. The scenes seem artificially prolonged, the dialogue feels forced and empty, giving the impression of bad improvisation. Occasionally, it may tease the possibility of an intriguing turn, but sadly, such moments never materialize.

Robert De Niro portrays both Frank Costello and Vito Genovese, significant crime figures in New York City throughout the mid-20th century. Despite growing up as friends, their relationship evolves when Vito departs the country to dodge criminal accusations, leaving his criminal empire under Frank’s control.

In the underworld, everything’s running smoothly due to Frank’s leadership. However, upon Vito’s return from America, this calm is disrupted by the arrival of a volatile, impulsive gangster who seeks to regain control and introduce hard drugs into their operations. Agreeing to share power, tension between them persists, fueled further by government investigations into organized crime. Matters come to a head when Vito orders a hit on his old friend, but the assassination attempt backfires.

In a year full of dual performances, Robert De Niro seriously underwhelms.

In the first six months of 2025, moviegoers are enjoying multiple roles by Robert De Niro (in “The Alto Knights”), Theo James (“The Monkey”), Robert Pattinson (“Mickey 17”) and Michael B. Jordan (upcoming “Sinners”). However, De Niro’s performance may not stand out as a notable example of the trend.

An issue arises from the portrayal itself: unlike other films under comparison, Frank Costello and Vito Genovese are not siblings or twins or duplicates. Being individual characters, there’s insufficient variation between them to create an engaging dual act. Vito exhibits aggression and always dons dark sunglasses, while Frank appears more laid-back and has a bit more hair. Essentially, the main point of contention lies in Robert De Niro’s attempt at delivering a dual performance that ultimately falls short.

The intimate scenes between the two characters feel artificial and contrived – not just due to the obvious attempts to simplify the settings (usually having them seated on opposite ends of restaurant tables without any disturbances), but also because the editing doesn’t help in making their dialogue seem genuine. The acting performances, meant to depict a natural conversation, come across as forced and transparent, leaving the viewer disconnected from the content of their interaction.

The story in The Alto Knights is terribly uninteresting, and the dialogue is maddening.

In a way, having Robert De Niro play two roles provides a bit of an engaging diversion amidst the long succession of rather mundane dialogues. It seems almost every scene follows this pattern, offering something to ponder over.

Is it true that he doesn’t have faith in you?” (In a more polite and indirect manner, suggesting the speaker is unsure or wants to avoid confrontation)

If I’m being kind, I might describe it as an attempt at spontaneous, everyday conversation, but it drags on too long and lacks depth, leaving the audience wishing the scene would progress quickly.

In simpler terms, the movie’s narrative falls short by both starting with an in medias res opening (beginning with the failed assassination attempt on Frank Costello) and overly relying on narration by Frank himself, which often interrupts the flow of the story without providing necessary context. This lackluster storytelling, coupled with the fact that Nicholas Pileggi is a well-known figure in the gangster genre (having worked on films like Goodfellas and Casino), makes The Alto Knights a film that doesn’t leave a lasting impression.

In my critique, I strive to avoid revealing crucial plot points, yet it’s clear that the pivotal third act of “The Alto Knights” revolves around criminal leaders scrambling when they notice police officers taking down license plates at a gathering, while our main character casually visits a roadside fruit stand en route to the meeting. On paper, this film appears to have the makings of a genre masterpiece; however, the actual performance falls flat in almost every aspect. I suspect that viewers who catch it in theaters will struggle to recall specifics from this movie even a year later.

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2025-03-24 09:41