The Alto Knights

This film was a bit like all of the other Robert De Niro Italian Mafia films, so you know what you're going to get. It's enjoyable, and by no means a bad film, but a tad formulaic.

I am unclear why De Niro played both main characters - at times it felt a little confused and, to be honest, my mind wandered to the prosthesis that went in to differentiating his looks. Was the fact he played both, a metaphor on the nature of the individuals (because this was based on real people), a commentary on the nature of the type of people involved, just a bit of fun for the actor, or an attempt to save money? Whichever, whilst it didn't have much of an impact on the film, it was odd.

As I say above, even though formulaic, an Nobel film, but with no surprises.

It is a most grievous thing to witness a once-mighty prince reduced to a shadow of his former self, shuffling through the corridors of power like a weary sovereign clinging to a throne he no longer commands. Such is the state of Robert De Niro in The Alto Knights, a film that aspires to the grandeur of past crime epics but instead finds itself wandering aimlessly, much like its aging protagonist.

De Niro, once the lion of this genre, now moves with the sluggish gait of a ruler who refuses to acknowledge the rise of younger, sharper heirs. His presence, once commanding, now elicits pity rather than fear. The fire that once burned in Goodfellas and Casino has been reduced to embers, and no amount of nostalgic reverence can conceal the fact that his time as a cinematic warlord has passed.

The film itself is a relic-an artifact that would have found a comfortable home in the theaters of a bygone era but now serves only as a reminder that not all battles should be fought. Had the producers possessed true cunning, they would have sent this directly to streaming, where it might have at least avoided the indignity of public scrutiny in the coliseum of the box office. Instead, they have placed it before the masses, unarmored and unfit for the duel.

A wise ruler knows when to retreat, to consolidate power elsewhere, and to leave the battlefield before his once-loyal subjects begin whispering of his frailty. De Niro, and indeed this film, would have done well to heed such wisdom.

Barry Levinson directed this mediocre gangster movie, with writer Nick Pileggi turning a potentially dramatic story into a generally dull exercise in nostalgia, genre cliches and a showpiece for Robert DeNiro to show off his considerable acting skills.

First hour is uninvolving and hard to sit through, thanks to an awkward flashback structure and rat-a-tat-tat editing. It opens with De Niro has mobster Frank Costello surviving an assassination attempt in 1957, and then fills in the his story and that of his childhood friend, mobster Vito Genovese (also played by DeNiro), leading up to the second half where their troubled relationship comes to an end -and the picture gets interesting. Too late for me, after suffering through that first half.

Levinson is bogged down in nostalgia, all the vintage cars, lots of old footage of familiar real-life celebs ranging from Louis Prima and Louie Bellson to James Cagney and Little Richard, and hectic montages of still photos. After a while, I was wishing that this was a Ken Burns documentary titled "The Crime Families" instead.

The entire movie is told from Costello's point-of-view, with sort of a third DeNiro playing old age Costello and looking more like Martin Scorsese (my peculiar reaction only). DeNiro's acting plus the script sugarcoat the Costello character to such an extent that he comes off as the "good guy" of the story.

But it is DeNiro as hothead/nutcase Genovese that is the flamboyant role here, especially compared to the overly bland Costello presentation. Levinson would have been better off casting Joe Pesci as Genovese. The gimmick of DeNiro times two, playing both leading roles in a movie, comes off in a technical sense, but is distracting from the story.

Supporting cast is extremely weak, mostly making no impression at all. An exception is Kathrine Narducci as Genovese's fiery wife Anna -she's the best thing in the picture. Debra Messing as Costello's wife is stuck in a nothing part. Of all the subsidiary gangsters in a large cast, only Michael Rispoli as Albert Anastasia stands out of the crowd.

I don't see why all the "hate" for this movie. It's a decent mafia movie. Not great, not terrible. I see people complaining that De Niro shouldn't been playing two characters, especially the main characters. I think he did a good job, which shows his incredible talent of getting into different characters. Yes, you could see it's the same person, the difference was not big, Frank Costello and Vito Genovese didn't look alike but you could see who was who in the movie.

It's not the typical, highly violent mafia movie we're used to and perhaps that's why it doesn't get up there in the top. It's hard to compare it to the classics. I remind you that The Irishman was also different from what we're used to when it comes to mafia movies, De Niro and Scorsese. But that's how it is, they can't make the same format of movies because we'd get bored of it.

This movie stands in its own, and shouldn't be compared with the classics. It's a different approach.

Anyway, like I said, it's not a masterpiece nor a fiasco. It's a good, decent movie for people interested in the mafia/gangster genre.

If I ever wondered why "The Alto Knights", a return to the Gangster genre for both Robert De Niro and Nicholas Pileggi, was so under advertised prior to its release, having seen it I don't wonder anymore. It's because it's not very good.

In his retirement, Frank Costello (Robert De Niro) recounts the story of his life, intertwined as it was with that of Vito Genovese (Robert De Niro). Having grown up together and risen the ranks of the mafia - Frank makes a play for some legitimacy having become "the boss of bosses" whilst Vito was trapped overseas by World War 2 and other legal issues. On his return to America, Vito wants to resume his role at the top and introduce a burgeoning narcotics business to the group. Frank is resistant but learns that Vito will take back what he lost by force, if he needs too.

Impressively, I think that De Niro is miscast twice in this film. It would be fine if he just played reflective, end of the road Costello, bookending the film and providing voice over. But he also plays both middle aged Costello and middle-aged Genovese in enough prosthetics that you can tell them apart, but not enough so you can't tell it's him. Why? Don't know. The characters aren't twins, or even related, they don't feel like two sides of the same coin, or even similar men ripped apart by circumstances. He felt - to me - too old to be playing either of them and Vito in particularly doesn't feel like he has the sort of crazy, unhinged energy that other characters suggest he has.

It's not the only problem with the film though, perhaps not even the biggest one. For me, it felt like a TV movie. For all the experience, including Barry Levinson behind the camera, it's a low-key affair. With the dialogue often delivered with what I imagine was supposed to be 'naturalistic' but feels more like characters couldn't hear each other. The mix of flashback and documentary style viewing is confused and there's not really anything in the story that hasn't been taken and used in another, better, mob film, or series.

Never so bad that I thought about leaving, but definitely a slog to get through.