Robert De Niro is well known for his mob film roles but not for Netflix political thriller series like Zero Hour, which viewers dwell received by viewers So he returns to his known roots in The Alto Knights, where he plays dual roles as two key figures in American crime history, Frank Costello and Vito Genovese. The film is the story of their rivalry as they fight for control over organised crime, set in the 1950s.
The film begins with Frank Costello, a powerful but restrained mob boss of New York. He built his empire on diplomacy rather than brute force. However, his rival, Vito Genovese, believes violence is the only way to take complete control. The main plot revolves around Genovese’s attempt to eliminate Costello and become the undisputed leader of the New York underworld.
Thus, the attempted assassination of Costello is one of the key moments. Costello survives but begins questioning whether staying in the mob is worth the constant threat to his life.
This hesitation makes him an unusual character for a gangster film, where most mob bosses fight to the bitter end. Meanwhile, Genovese sees Costello’s doubt as a sign of weakness and becomes more ruthless.
The story builds toward the infamous 1957 Apalachin Meeting, a real-life gathering of high-ranking mobsters that ended in disaster when the police raided the event.
The film suggests that Costello played a role in setting Genovese up for failure despite stepping down from leadership. This adds an absorbing layer to the story rather than violence. Costello’s strength lies in his ability to manipulate situations behind the scenes.
While The Alto Knights successfully portray this historical power struggle, it sometimes feels too focused on recreating classic gangster film moments rather than character development.
De Niro’s performance as both Costello and Genovese is impressive, but the film struggles to make Genovese as complex as Costello. Instead, Genovese is portrayed as a one-dimensional villain, which makes the rivalry less intriguing.
Another issue is the pacing. The first half has a slow-burning tension, but the second half rushes through essential moments, especially the Apalachin Meeting. While the buildup is substantial, the payoff feels underwhelming.
Despite these flaws, the film might invoke nostalgia for quintessential mob movies. The cinematography captures the 1950s atmosphere, from dimly lit bars to the polished offices of influential men. The dialogue stays true to the tone of classic mob movies despite being dramatic sometimes.
The Alto Knights honour the legacy of gangster films but don’t bring much new to the table. The story of Frank Costello and Vito Genovese is fascinating, and De Niro’s performance carries much of the film. These performances prove his talent, reflecting his long career, which shows no signs of slowing down.
