Justin Chang

As Vito, De Niro seems to be channeling Joe Pesci's hothead from Goodfellas, barking and cursing under a layer of prosthetic pancake. As Frank, he smiles, shrugs, and plays it cool. Frank doesn't want any trouble. He just wants to rake in the dough, hobnob with philanthropists and politicians, and spend his nights at home watching TV with his wife, played by a frowny Deborah Messing.

As Vito, De Niro seems to be channeling Joe Pesci's hothead from Goodfellas, barking and cursing under a layer of prosthetic pancake. As Frank, he smiles, shrugs, and plays it cool. Frank doesn't want any trouble. He just wants to rake in the dough, hobnob with philanthropists and politicians, and spend his nights at home watching TV with his wife, played by a frowny Deborah Messing.

As Vito, De Niro seems to be channeling Joe Pesci's hothead from Goodfellas, barking and cursing under a layer of prosthetic pancake. As Frank, he smiles, shrugs, and plays it cool. Frank doesn't want any trouble. He just wants to rake in the dough, hobnob with philanthropists and politicians, and spend his nights at home watching TV with his wife, played by a frowny Deborah Messing.

They have a loving, stable marriage, unlike Vito and his fiery wife, Anna, played by a very good Catherine Narducci. The Alto Knights doesn't have many more ideas than this good mobster, bad mobster dynamic.

They have a loving, stable marriage, unlike Vito and his fiery wife, Anna, played by a very good Catherine Narducci. The Alto Knights doesn't have many more ideas than this good mobster, bad mobster dynamic.

They have a loving, stable marriage, unlike Vito and his fiery wife, Anna, played by a very good Catherine Narducci. The Alto Knights doesn't have many more ideas than this good mobster, bad mobster dynamic.

The script does pull together a lot of events from the 1950s, including a Senate investigation into interstate crimes and a historic summit that brought together hundreds of mob bosses from around the country. But the movie doesn't seem to trust its own story.

The script does pull together a lot of events from the 1950s, including a Senate investigation into interstate crimes and a historic summit that brought together hundreds of mob bosses from around the country. But the movie doesn't seem to trust its own story.

The script does pull together a lot of events from the 1950s, including a Senate investigation into interstate crimes and a historic summit that brought together hundreds of mob bosses from around the country. But the movie doesn't seem to trust its own story.

Barely a scene goes by that isn't embellished with popping flashbulbs and giant newspaper headlines, as if Levinson were trying to convince us that we were watching history in the making. Still, De Niro's performances do keep you watching. Or at least one of them does.

Barely a scene goes by that isn't embellished with popping flashbulbs and giant newspaper headlines, as if Levinson were trying to convince us that we were watching history in the making. Still, De Niro's performances do keep you watching. Or at least one of them does.

Barely a scene goes by that isn't embellished with popping flashbulbs and giant newspaper headlines, as if Levinson were trying to convince us that we were watching history in the making. Still, De Niro's performances do keep you watching. Or at least one of them does.

Vito may be little more than a walking tantrum, but Frank makes for good company, especially in those moments toward the end when he seriously considers bowing to Vito and stepping aside. So what if De Niro is playing a sentimentalized version of a ruthless crook?

Vito may be little more than a walking tantrum, but Frank makes for good company, especially in those moments toward the end when he seriously considers bowing to Vito and stepping aside. So what if De Niro is playing a sentimentalized version of a ruthless crook?

Vito may be little more than a walking tantrum, but Frank makes for good company, especially in those moments toward the end when he seriously considers bowing to Vito and stepping aside. So what if De Niro is playing a sentimentalized version of a ruthless crook?

Hollywood gangster movies, even the ones as dubious and derivative as this one, have always known a thing or two about selling us a beautiful lie.

Hollywood gangster movies, even the ones as dubious and derivative as this one, have always known a thing or two about selling us a beautiful lie.

Hollywood gangster movies, even the ones as dubious and derivative as this one, have always known a thing or two about selling us a beautiful lie.

It feels like only yesterday that I was recommending a new movie from the director Steven Soderbergh and the screenwriter David Koepp. Actually, it was about two months ago. The movie was Presence, a ghost story made with the thrift and ingenuity that Soderbergh has long been known for. He and Kep have become ideal creative partners.

It feels like only yesterday that I was recommending a new movie from the director Steven Soderbergh and the screenwriter David Koepp. Actually, it was about two months ago. The movie was Presence, a ghost story made with the thrift and ingenuity that Soderbergh has long been known for. He and Kep have become ideal creative partners.