The Alto Knights

What Barry Levinson, working from a script by Goodfellas and Casino writer Nicholas Pileggi, has done is made a historical recap of a true American gangster tale enlivened by the gimmick of two De Niros. Because, obviously, one sure way to draw attention to your gangster picture is to cast Robert De Niro. Casting him twice? Ba da bing!

De Niro plays the aging version of two childhood buddies, Vito Genovese and Frank Costello. Vito’s a loose canon psychopath. Frank’s a smooth operator, a diplomat. And though it was really Vito who was in charge of the five boroughs, it was Frank who brought things together in peace and prosperity while his friend was in exile waiting out a double murder rap.

But now Vito’s back and he wants all he believes he has coming to him, and he lacks the patience to wait on Frank’s charity.

De Niro’s Frank also narrates the story from a place of retired peace, which keeps him on the screen even more (not a bad choice) but leeches any real tension from the adventure. But a shoot-em-up thriller is not what Levinson’s after. His goal is to showcase the machinations and counter moves of two very different criminal minds.

De Niro’s Frank Costello performance is understated, almost affable and he shares a lived-in chemistry with onscreen partner Debra Messing as wife, Bobbie. His Vito is a fun riff on Joe Pesci—less explosive, but stewing with the same idiosyncrasies, insecurities and wise cracks.

The surrounding ensemble (including two actors doing Columbus, Ohio proud—Todd Covert and Brian Spangler) impresses, carving out memorable characters, often with limited and highly populated screen time.

It’s a capably made, solid movie but there’s not much to distinguish it from a lot of other gangster pictures except that  you get two times the star power from the actor who continues to prove he’s America’s greatest onscreen gangster.