Warner Bros. presents "The Alto Knights" as a Mafia drama with the allure of past classics like "Goodfellas." However, this film directed by Barry Levinson falls short of expectations. Featuring Robert De Niro in dual roles and written by Nicholas Pileggi, the movie aims to explore the power struggle between two New York mob bosses but instead delivers a convoluted, slow-paced narrative that fails to captivate its audience. Despite an intriguing start involving an assassination attempt, the film's momentum falters due to underdeveloped characters and excessive narration.

De Niro's performance, while commendable, cannot rescue the film from its structural flaws. The story's focus on Frank Costello and Vito Genovese lacks clarity, leaving viewers disengaged. Although moments of humor arise, particularly through Vito’s eccentricities, the overall execution leaves much to be desired. The film concludes with a sense of anticlimax, ultimately disappointing fans of both De Niro and the Mafia genre.

A Disjointed Narrative

Despite its promising premise, "The Alto Knights" struggles with pacing and coherence. The film begins with a dramatic assassination attempt on Frank Costello, setting up what could have been a thrilling tale of revenge and rivalry. However, the ensuing plot meanders aimlessly, bogged down by unnecessary details and repetitive sequences. Characters introduced early in the story are left undeveloped, reducing their potential impact on the narrative.

This lack of direction becomes increasingly apparent as the film progresses. Instead of focusing on the central conflict between Frank and Vito, the screenplay veers into tangential territory, offering lengthy narrations that do little to advance the storyline. These digressions, combined with scenes that linger too long, create a disjointed experience for the viewer. The result is a film that feels much longer than its runtime suggests, further detracting from its intended dramatic tension.

An Underwhelming Performance

While Robert De Niro delivers a solid performance, playing both Frank Costello and Vito Genovese simultaneously proves to be more gimmicky than impactful. His portrayal of Vito includes a distinct vocal inflection and quirky mannerisms, contrasting sharply with his more subdued depiction of Frank. Yet, despite these efforts, the duality never fully immerses the audience, reminding them constantly of De Niro's presence rather than allowing them to lose themselves in the characters.

Beyond De Niro, other performances suffer from poor direction and inadequate material. Debra Messing, cast as Bobbie Costello, overacts her role, failing to provide the emotional depth needed to complement the main storyline. Additionally, supporting characters remain shallow sketches, contributing little to the overarching narrative. In contrast, fleeting moments of levity, especially those centered around Vito's antics, stand out as highlights. Unfortunately, these instances feel out of place within the broader context of the film, which ultimately aims for seriousness but misses its mark.