Review: Robert De Niro’s dual role in ‘The Alto Knights’ can’t quite match ‘Goodfellas’ magic

When Anna Genovese furiously exclaims to her estranged husband, mob boss Vito Genovese, in a courtroom, “You’re the actor! The best actor in the world! Better than Clark Gable!” the irony is clear. The man portraying Vito is none other than Robert De Niro—one of the greatest actors of all time, revered in his era as Gable was in his.

It’s a clever moment in Barry Levinson’s The Alto Knights, a film that strives—but ultimately fails—to capture the brilliance of classic mob movies like Goodfellas. Even with Nicholas Pileggi, the same writer behind Goodfellas, at the helm, The Alto Knights doesn’t rise to the level of its acclaimed predecessors. Instead, it leans heavily on its star. It leans on both of them, as De Niro plays not just Vito Genovese but also his rival, Frank Costello, in this crime drama based on real-life events.

A Gimmick That Only Partially Works

De Niro’s portraying two legendary mobsters is undoubtedly a draw. If you’re someone who believes that more De Niro equals more entertainment, you may enjoy the spectacle. However, the film at times feels like a gangster version of The Parent Trap—a dynamic that makes the material feel less weighty, despite its violent subject matter.

Fans of Goodfellas might wonder if the role of Vito Genovese was originally meant for Joe Pesci. His impulsive and dangerously unpredictable persona is an almost perfect match. Meanwhile, when the two De Niros share the screen in pivotal scenes, one might even imagine Al Pacino stepping in, echoing their legendary face-off in Heat.

Fortunately, Levinson forgoes the de-aging effects used in The Irishman, opting instead for traditional makeup. Yet, despite the effort, the physical distinctions between De Niro’s two characters aren’t always convincing. More importantly, The Alto Knights, despite its strong pedigree, lacks the energy and narrative tightness that made its predecessors iconic. Instead, it presents an occasionally gripping but ultimately uneven portrayal of two mob titans at odds.

A Slow Burn with Some Standout Moments

Set in 1957 Manhattan, the film opens with Frank Costello enjoying a night among high society before returning home to his upscale apartment. As he steps into his lobby, a nervous hitman (played by Cosmo Jarvis) approaches him and fires a shot to the head. “This one’s for you,” the gunman says. The problem? Costello survives.

“You gotta go SEE if they’re dead!” Genovese later scolds his assassin. Meanwhile, Costello, ever the smooth talker, reflects in voiceover: “I shoulda been paying more attention.” From here, the film rewinds to explore how these two men—once friends—became bitter rivals.

Using archival footage blended with actors portraying younger versions of the leads, we see their journey from street-level criminals to powerful figures in the Italian-American underworld. When Vito is forced to flee to Italy due to a murder case, Frank takes control of their shared business. Years later, Vito returns, demanding his place at the top. What follows is a power struggle that escalates into outright war.

The differences between the two men are mirrored in their relationships. Frank’s devoted wife Bobbie (Debra Messing, in a rare dramatic role) urges him to retire and leave New York with their beloved dogs—De Niro’s own real-life pooches, hilariously adorned in mink coats and hats. Meanwhile, Vito’s wife Anna (Kathrine Narducci, delivering an excellent performance) is a fiery entrepreneur who owns a gay bar, but her tumultuous marriage with Genovese spirals into disaster.

The Best and Worst of The Alto Knights

While the film struggles with pacing and depth, it does deliver a few standout moments. A particularly charged courtroom scene, a tense televised Senate committee hearing, and a climactic mob summit in the countryside—complete with vintage cars and a cookout—are among the film’s highlights. When police unexpectedly crash the gathering, dozens of mobsters hilariously scramble for cover.

“We’re hunters!” two of them insist to the skeptical cops. It’s a rare moment of levity in an otherwise serious crime drama. If only there were more such moments scattered throughout the film’s two-hour runtime, which somehow feels even longer.

The Verdict

Despite its compelling source material and powerhouse performances, The Alto Knights falls short of greatness. It lacks the raw intensity of Goodfellas and the operatic grandeur of The Godfather. Instead, it lands somewhere in between—a competent but unremarkable entry in the gangster genre.

The Alto Knights, a Warner Bros. Pictures release, is rated R for violence and pervasive language. Running time: 120 minutes. ⭐️⭐️ (2/4 stars)