The Alto Knights

The numbers don't lie. This film was released in late March of this year and it's already on HBO Max. The film cost $50 million BEFORE marketing costs (and most of that was for CGI and De Niro's salary), and it made a paltry $9 million.

Hollywood and the Hollywood press, tried to blame it on the fact that this genre is out of fashion. I say, nonsense. This is simply a terrible film. De Niro's ego, not acting, is on display. The entire concept of him playing two roles, and even having conversations with himself as the two characters: Vito Genovese and Frank Costello, is ludicrous. It's a stunt. A silly gimmick. And, ironically, De Niro gives an uneven performance. He's better as Genovese than Costello. Then, we see different prosthetics and CGI tricks for the two characters at different stages of their lives.

Moreover, De Niro does what he's been doing in every film for the past dozen years: he sleepwalks through it. De Niro is long-past his sell-by date. The only one who doesn't know it is De Niro.

Bobby shoulda only played Frank and it coulda been better had he woulda.

Fine lead actor and to some degree he can perform character actor but playing opposite himself was distracting for me. His voice inflections and tonality, mannerisms, and basic personality made scenes with both characters very monotone. That carried over to solo scenes as well. Makeup was good but not good enough to dispell.

Overall I enjoyed the movie, but would have appreciated it with Keitel, Pacino, Hoffman, or many other possible actors playing opposite in the Vito role.

Messing was great.

PS Joe Bonanno would slap you senseless had he seen where you made him old and frail before his time. I knew him in the 1970s and he still presented a formidable presence.

After seeing over the years Robert De Niro star in gangster films such as Mean Streets, Goodfellas, Casino, and The Irishman, it's astonishing to see him play gangster fresh in The Alto Knights. Sure, we've seen most of his facial and vocal turns before, but never in two different mobsters in the same film with two distinct personalities.

Narrator Frank Costello (De Nir0) is an analytical businessman not wholly invested in being a mid-twentieth century icon; his former best friend from youth, Vito Genovese (De Niro), is a hot head bound to lead the mob in the US, regardless of his friendship with current mob head, Frank. To see De Niro play both nose to nose in negotiations is to see one of the great film actors of all time.

When you look into Frank's eyes, you see latent menace that has caused countless deaths. Looking at Vito's glasses, you don't have the depth but rather a surface violence, hardly hidden. A great actor brings both distinct personalities alive.

Director Barry Levinson also brings his memorable work with Bugsy and Wag the Dog while writer Nicholas Pileggi brings traces of success from Goodfellas and Casino. With the three pedigrees converging in The Alto Knights, you must expect greatness, and you get it, maybe not throughout but enough to say that if Coppola and Brando had also been involved, this film would have been incomparable.

Most scenes are intimate as Frank's wife Bobbie (Debra Messing), and he quietly map out their fate. More flamboyant is Vito's wife, Anna (Katherine Narducci), whose courtroom histrionics as she testifies against him is the stuff of in your face while it contrasts with De Niro's subtler approach (not his usual path). The variety of acting and its excellence makes this a gangster film you should not refuse.

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.

The Alto Knights... It takes all of the charm of GoodFellas (and is very clearly written by the same guy: Nicholas Pileggi), but it lacks the mastery that Scorsese brings, instead looking like a lazy knock-off. It has plenty of potential, but it chooses to take the easy way out and ends up feeling half-baked.

GoodFellas has one of the best narrations of all time by Henry Hill and his wife, Karen, and this movie attempts to do the same. However, it ultimately hurts more than it helps. Instead of adding on to the story, De Niro sits there and tells you the story for the first half hour. He tells you about himself and the other main characters and everyone's entire backstory, rather than letting you experience it for yourself. It starts off like nothing more than a bedtime story with some black and white stock footage of Hell's Kitchen in New York thrown on screen. Then it abandons the narration for a bit before picking it back up. It doesn't let you experience the characters and feel for them; it tells you exactly what it wants you to know, with no creativity, no room for interpretation, and no flair, all of which are things that a movie needs.

Apart from that, the writing is not particularly bad. It's nothing special, but it doesn't hurt the movie. De Niro does his best with what he's given, but the dual role ends up being too distracting. His dialogue scenes with himself feel clunky and out of place. All I could think about was how perfectly Joe Pesci would fit into that role as a short-tempered, stubborn mob boss (who lies to make himself taller).

This movie had so much potential, in both its story and its cast, but it was wasted, instead cutting corners. Yet, despite all of this, it was still a little bit of fun, and nice to see just a straightforward, traditional gangster movie. It's easy enough to look past all of its flaws and enjoy it (most of the time). There are some good moments of suspense, a few comedic lines, and even most of the side characters feel well-rounded enough to be believable. Unfortunately, this movie is only just good enough, nothing special, but it's for sure worth a watch if you get the chance.