From the mind of Award-winning director Barry Levinson (Rain Man, Dopesick) and legendary screenwriter Nicholas Pileggi (Goodfellas), The Alto Knights is an ambitious attempt to recapture the golden age of mob cinema. With an all-star cast led by Robert De Niro—who takes on the daunting task of portraying both real life Mafia bosses Frank Costello and Vito Genovese—the film explores the volatile power struggle that reshaped the American crime families in the late 1950s.
Supported by a talented ensemble, including Debra Messing (Will & Grace), Cosmo Jarvis (Lady Macbeth) , Katherine Narducci, and Michael Rispoli, this crime saga is rich in historical detail and beautifully layered performances.
The Alto Knights follows Costello and Genovese, once the closest of allies, as they become bitter rivals vying for control of New York’s underworld. The film does a great job of depicting their rise through the ranks, illustrating how friendships in organised crime can be as fragile as they are deadly.
Costello, the shrewd and politically connected “gentleman gangster,” believes in keeping violence to a minimum, while Genovese, hot-tempered and ruthless, sees brutality as a means to an end. Their conflicting ideologies lead them down a path of betrayal, setting the stage for a war that will leave the American crime syndicate forever changed.
De Niro’s portrayal of both crime bosses is, without question, the film’s most ambitious element. He embodies the distinct personalities of Costello and Genovese, presenting them as two sides of the same coin—one measured and calculated, the other aggressive and impulsive. However, while his commitment to the roles is undeniable, the dual performance doesn’t always work as seamlessly as intended. At times, the illusion falters, making it difficult to fully separate the two characters.
That said, De Niro’s presence is magnetic. Even when the film stumbles, he elevates it, delivering one of his most compelling performances in years. His ability to communicate volumes through a single look remains unparalleled, reminding audiences why he is still one of the finest actors of all time.
The biggest surprise of the film, however, is Debra Messing. Best known for her comedic work, she delivers a revelatory performance as Bobbie Costello, Frank’s wife. She brings unexpected depth and emotional weight to the story, proving she is more than capable of handling dramatic material. Her scenes with De Niro are particularly powerful, offering a glimpse into the personal toll of a life steeped in crime.
Beyond its performances, The Alto Knights is a visually striking period piece, with cinematographer Dante Spinotti (L.A. Confidential, The Insider) capturing the grit and glamour of mid-century New York. The film’s production design, costumes, and score all work in harmony to transport the audience to a bygone era, further immersing them in the world of organised crime.
Ultimately, The Alto Knights is a compelling, well-acted crime drama that, while not without its flaws, stands as a worthy addition to the mob movie canon. Levinson’s direction, Pileggi’s sharp script, and De Niro’s commanding presence ensure that the film remains engaging from start to finish. While the dual-role concept doesn’t always fully land, the film is bolstered by a stellar supporting cast, stunning cinematography, and a standout performance from Messing. It may not reach the heights of Goodfellas or The Irishman, but it’s a gripping, stylish, and often electrifying piece of cinema that fans of the genre won’t want to miss.
