Justin Chang

But the film languished in development hell for decades, and only got the green light a few years ago, presumably on the strength of a major casting gimmick. Both Costello and his notorious friend-turned-rival Vito Genovese are played by the same actor, Robert De Niro. That's one way to liven up the formula, I suppose.

But the film languished in development hell for decades, and only got the green light a few years ago, presumably on the strength of a major casting gimmick. Both Costello and his notorious friend-turned-rival Vito Genovese are played by the same actor, Robert De Niro. That's one way to liven up the formula, I suppose.

De Niro has played many mobsters in The Godfather Part II, The Untouchables, Goodfellas, and The Irishman, for starters. He's riffing on a lot of those characters in The Alto Knights, which often plays like a hectic rehash of mob drama clichés. It's not entirely the movie's fault. The real-life events it's tackling here are why some of those clichés exist.

De Niro has played many mobsters in The Godfather Part II, The Untouchables, Goodfellas, and The Irishman, for starters. He's riffing on a lot of those characters in The Alto Knights, which often plays like a hectic rehash of mob drama clichés. It's not entirely the movie's fault. The real-life events it's tackling here are why some of those clichés exist.

De Niro has played many mobsters in The Godfather Part II, The Untouchables, Goodfellas, and The Irishman, for starters. He's riffing on a lot of those characters in The Alto Knights, which often plays like a hectic rehash of mob drama clichés. It's not entirely the movie's fault. The real-life events it's tackling here are why some of those clichés exist.

Frank Costello was the inspiration for the godfather himself, Don Vito Corleone. The Alto Knights begins with a bang in 1957. Frank, the big boss of the Luciano crime family, is shot in the lobby of his New York apartment building. Frank survives, and knows immediately that it was Vito Genovese who ordered the hit. But he keeps this a secret.

Frank Costello was the inspiration for the godfather himself, Don Vito Corleone. The Alto Knights begins with a bang in 1957. Frank, the big boss of the Luciano crime family, is shot in the lobby of his New York apartment building. Frank survives, and knows immediately that it was Vito Genovese who ordered the hit. But he keeps this a secret.

Frank Costello was the inspiration for the godfather himself, Don Vito Corleone. The Alto Knights begins with a bang in 1957. Frank, the big boss of the Luciano crime family, is shot in the lobby of his New York apartment building. Frank survives, and knows immediately that it was Vito Genovese who ordered the hit. But he keeps this a secret.

He isn't interested in revenge, and he doesn't want to start a mob war. From there, the story flashes back about 50 years, recounting in rapid-fire fashion how young Frank and Vito befriended each other in New York, where they hung out at the Alto Knights Social Club, a hive of gangster activity. Both men became bootleggers during Prohibition, rising through the ranks of the Luciano family.

He isn't interested in revenge, and he doesn't want to start a mob war. From there, the story flashes back about 50 years, recounting in rapid-fire fashion how young Frank and Vito befriended each other in New York, where they hung out at the Alto Knights Social Club, a hive of gangster activity. Both men became bootleggers during Prohibition, rising through the ranks of the Luciano family.

He isn't interested in revenge, and he doesn't want to start a mob war. From there, the story flashes back about 50 years, recounting in rapid-fire fashion how young Frank and Vito befriended each other in New York, where they hung out at the Alto Knights Social Club, a hive of gangster activity. Both men became bootleggers during Prohibition, rising through the ranks of the Luciano family.

Vito became boss, but fled to Italy to avoid a murder rap. By the time Vito returned years later, after World War II, Frank was in charge of a prosperous criminal empire, protected by paid-off cops and politicians. Most of this backstory passes by in a barely coherent rush, which is a shame.

Vito became boss, but fled to Italy to avoid a murder rap. By the time Vito returned years later, after World War II, Frank was in charge of a prosperous criminal empire, protected by paid-off cops and politicians. Most of this backstory passes by in a barely coherent rush, which is a shame.

Vito became boss, but fled to Italy to avoid a murder rap. By the time Vito returned years later, after World War II, Frank was in charge of a prosperous criminal empire, protected by paid-off cops and politicians. Most of this backstory passes by in a barely coherent rush, which is a shame.

Given his knack for dramas about immigrant experiences and boyhood friendships, in films like Diner, Avalon, and Liberty Heights, Levinson could have teased out something rich from Frank and Vito's early years. But The Alto Knights, which was written by Goodfellas screenwriter Nicholas Pelleggi, is eager to race ahead to the tug of war between De Niro and De Niro.

Given his knack for dramas about immigrant experiences and boyhood friendships, in films like Diner, Avalon, and Liberty Heights, Levinson could have teased out something rich from Frank and Vito's early years. But The Alto Knights, which was written by Goodfellas screenwriter Nicholas Pelleggi, is eager to race ahead to the tug of war between De Niro and De Niro.

Given his knack for dramas about immigrant experiences and boyhood friendships, in films like Diner, Avalon, and Liberty Heights, Levinson could have teased out something rich from Frank and Vito's early years. But The Alto Knights, which was written by Goodfellas screenwriter Nicholas Pelleggi, is eager to race ahead to the tug of war between De Niro and De Niro.

Vito, who's violent and irrationally jealous, wants to seize back control of the outfit and turn it into a drug dealing operation. Frank is trying to cultivate a legitimate, respectable image and tries to talk Vito out of it.

Vito, who's violent and irrationally jealous, wants to seize back control of the outfit and turn it into a drug dealing operation. Frank is trying to cultivate a legitimate, respectable image and tries to talk Vito out of it.

Vito, who's violent and irrationally jealous, wants to seize back control of the outfit and turn it into a drug dealing operation. Frank is trying to cultivate a legitimate, respectable image and tries to talk Vito out of it.