Cast: Robert De Niro, , Debra Massing, Cosmo Jarvis, Katherine Narducci, Micheal Rispoli, Michael Adler, Ed Amatrudo, Joe Bacino, Anthony J. Gallo, Wallace Langham, Louis Mustillo, Frank Piccirillo, Matt Servitto, Robert Uricola
Genre: Gangster, Crime, Drama, History
Director: Barry Levinson
In Irish Cinemas: 21st March 2025
Many films have attempted to chart the decline of the Italian-American mafia, a well-trodden narrative of fractured family loyalties, the erosion of Cosa Nostra’s once-sacred code, and the unchecked greed that ultimately invites law enforcement to dismantle the empire from within. From The Godfather (1972) to The Sopranos, audiences have seen this story unfold time and again. Yet, at 82, director Barry Levinson takes a more intimate approach with The Alto Knights, choosing to focus not on the mafia’s grand collapse but on the quiet betrayal between two lifelong friends—where ambition and greed prove to be the deadliest enemies of all.
Robert De Niro shoulders a demanding dual role as Frank Costello, the revered boss of bosses and narrator of the story, and Vito Genovese, a ruthless rival who was once his closest confidant. Costello is depicted as a pragmatic leader, a steady force in New York’s underworld who maintains the peace following Lucky Luciano’s imprisonment. But when Vito, having evaded murder charges, returns from hiding, his hunger for power eclipses any sense of loyalty. His most pressing ambition? To flood the streets with heroin, a move that Costello vehemently opposes, believing it will accelerate the mafia’s downfall. Their ideological divide festers into resentment, culminating in a failed assassination attempt on Costello—an order that comes straight from Vito himself.
This botched hit serves as more than just a personal betrayal; it’s a metaphor for the unraveling of the entire syndicate. The once-unshakable bonds of the old mafia give way to paranoia, disloyalty, and self-destruction. In theory, The Alto Knights has all the makings of a gripping crime saga, but in execution, it feels more like a dry, overly academic retelling than a visceral, immersive experience. Much of this stems from the film’s heavy reliance on De Niro’s narration, which lacks the kinetic energy of Ray Liotta’s storytelling in Goodfellas (1990) and instead settles into a detached, almost monotone reflection. This is further hindered by the awkward dynamic between De Niro’s dual performances—his Vito, in particular, feels like it was written with longtime collaborator Joe Pesci in mind, resulting in a portrayal that plays more like De Niro imitating Pesci rather than fully inhabiting the role himself.
While The Alto Knights is undoubtedly crafted for die-hard mafia film enthusiasts, it struggles to distinguish itself from its predecessors, treading familiar ground without bringing much new to the table. One of its few standout moments is its depiction of the infamous Apalachin meeting, the 1957 gathering that inadvertently exposed the extent of organized crime’s influence in America. The sequence crackles with tension as dozens of mob bosses scatter in panic when law enforcement descends upon their secret summit. It’s one of the film’s most compelling set pieces, yet it also underscores its larger flaw: Levinson’s attempt to carve out his own place in the legacy of mafia cinema ultimately feels like a case of arriving late to the feast, grasping for a slice of history that’s already been served.
Overall: 6.5/10
Movie Reviewer
