The Alto Knights - Review: A Depressing Reminder of a Dead Genre

The Alto Knights

A Depressing Reminder of a Dead Genre

★★½☆☆

A throwback that unintentionally confirms the age of the Mafia film is truly over.

Lucky 13 Review

Alto Knights

★★½☆☆

Directed by Barry Levinson • 2025

Release Date

March 21, 2025

Rotten Tomatoes

72%

Letterboxd Score

3.3/5

Running Time

2h 02m

Official Synopsis

An immersive period crime chronicle exploring the legendary mid-century turf war between two rival Italian-American mob bosses: Vito Genovese and Frank Costello. Running the streets of New York throughout the 1950s, the narrative details the tactical maneuvers, bloody betrayals, and political power plays that defined their warring factions. In an extraordinary dual performance, Robert De Niro portrays both aging crime lords, mapping the internal structural friction of the American Mafia as Genovese coordinates a ruthless assassination attempt on Costello to claim total underworld dominance.

Expanded Ensemble

• Robert De Niro as Vito Genovese / Frank Costello
• Debra Messing as Bobbie Costello
• Kathrine Narducci as Anna Genovese
• Cosmo Jarvis as Vincent "The Chin" Gigante
• Michael Rispoli as Tommy Lucchese
• Louis Mustillo as Carmine Tramunti

Expanded Architects

• Director: Barry Levinson
• Screenplay: Nicholas Pileggi
• Producers: Irwin Winkler, Jason Sosnoff, Barry Levinson
• Cinematography: Dante Spinotti
• Film Editor: Aaron Yanes
• Music Composer: Fabrizio Mancinelli

Official Promotional Trailer

Production Info & Specifications

Financial Budget	$50 Million (Estimated)
Global Box Office	$21.4 Million (Limited Theatrical Window)
Capture Format	Digital (ARRI ALEXA Mini LF) • 2.39:1 Widescreen Layout
Primary Locations	Cincinnati, Ohio • New York City, New York, USA
Production Label	Warner Bros. Pictures • Winkler Films

Directed by Barry Levinson, The Alto Knights attempts to turn back the clock to the golden era of gangster cinema. However, the film often feels like a parody of itself, struggling with tired stereotypes and heightened dialogue. Despite the high-concept hook of Robert De Niro playing dual roles, the project serves more as a vanity showcase than a meaningful contribution to the genre.

"The stark digital look makes the characters look like they are all playing pretend and dressing up as gangsters for Halloween or a costume party."

— Ray Manukay

🎬 Film Details

• Director: Barry Levinson
• Starring: Robert De Niro (as Vito Genovese & Frank Costello)
• Writer: Nicholas Pileggi (Goodfellas, Casino)
• Cinematography: Digital / High Definition

The Technical Mismatch

The film’s digital photography does the genre a significant disservice. Mafia stories traditionally require the texture and grain of 35mm film to feel authentic; here, the clean digital look unintentionally highlights de-aging makeup and makes the production feel like a television sitcom. While it isn't "poorly made," it stands as a depressing reminder that the industry has pivoted away from the gritty, criminal character studies of the 70s and 90s.

💡 Cinephile Fun Facts

• Pileggi Connection: The script was written by legendary author Nicholas Pileggi, the man behind the source material for Goodfellas and Casino.
• De Niro's Legacy: This marks another collaboration in the twilight of De Niro's career focusing on his Mafia roots, following The Irishman.
• Dual Role: De Niro portrays both rival mob bosses, Vito Genovese and Frank Costello, who were real-life figures in the mid-20th century.

✅ Pros

• De Niro earns the right to revisit the genre he helped define.
• Competent direction from veteran Barry Levinson.
• Interesting historical context involving mid-century mob rivalry.

❌ Cons

• Stark digital photography lacks the necessary cinematic texture.
• Stereotypical characters and "painfully reminiscent" dialogue.
• Dual casting adds very little to the actual narrative.

The Full Analysis

Gangster films were effectively the comic book movies of the 1970s and 1990s. During those eras, it seemed like every year produced at least one classic Mafia film, and some of the most iconic entries in the genre were released during those decades. The Alto Knights positions itself as a throwback to those stories, but unfortunately, it only serves to inform audiences that the era for such films has passed. The genre now feels like a parody of itself, despite the best intentions and clear ambitions of the production.

Robert De Niro, the signature star of so many legendary Mafia films, tries to turn back the clock here, but his efforts are to no avail. The truth is that there is nothing in this narrative that we haven't seen before, and usually presented much more effectively in previous films. The primary selling point for this movie is the dual casting of De Niro as two different mob bosses. Unfortunately, this gimmick doesn't add much to the proceedings, appearing instead as a mere vanity showcase for the veteran actor. However, it is hard to fault De Niro for wanting to return to this well, as his illustrious decades in the industry have certainly earned him that right.

Ultimately, The Alto Knights reminds the audience that the golden age of the Mafia film is truly over. Everything about the movie feels slightly off, whether it is the reliance on stereotypical characters, the tired and bloody crime scenes, or the painfully reminiscent, heightened Italian mafia dialogue. Director Barry Levinson puts forth a noble effort, but there is no resuscitating a genre that feels this stagnant. Particularly noticeable and awkward is the digital photography, which does the genre a significant disservice by making the movie look like a television sitcom rather than a classic cinematic experience.

The stark digital look unintentionally highlights the actors' ages and the limitations of the de-aging makeup. This genre, perhaps more than any other, requires the classic 35mm film look, as grainy photography adds a necessary texture to the criminal underworld. The digital clarity of The Alto Knights makes the characters look like they are playing pretend or dressing up as gangsters for a Halloween party. It would be wrong to criticize the film as poorly made, but it is a depressing reminder that the industry has pivoted away from the deep, character-driven criminal studies of the past. The Alto Knights should perhaps mark the end of period gangster films until someone can contribute something truly unique to the genre, a feat that is increasingly hard to imagine.

🏆 Final Verdict

★★½☆☆

The Alto Knights should likely mark the end of the period gangster film. Unless someone can contribute a unique perspective, the genre feels exhausted—a costume party for a style of filmmaking that has moved on.

View original review on Letterboxd