Directed by: Barry Levinson
Distributed by: Warner Bros. Pictures
Written by Alexander Reams
33/100
On paper, Robert De Niro starring as Frank Costello and Vito Genevese in “The Alto Knights” with a script from Nicholas Pileggi, cinematography by Dante Spinotti, and the personal backing of Warner Bros. Discovery CEO, David Zaslav, seemed like indicators that the film would at least be serviceable. However, with a marketing campaign that can only be described as lethargic and muddy reviews, it became clear that this was not the late-career comeback vehicle for Barry Levinson that I had hoped it would be. Instead, it was an exercise in my own discipline as a viewer, as well as cinematic torture.
What makes a great film like “Goodfellas” and “The Irishman?” It’s a combination of all the different departments that make a film, constantly communicating with each other. The Copa Cobana shot is the easiest reference; if the camera operator, boom operator, and the actors aren’t all in step together, then the shot, the illusion, is ruined.
“The Alto Knights” follows the friendship of Genevese and Costello, but is told in excruciatingly non-linear fashion, and often opts for Ken Burns-esque active photo shots with poor De Niro/Costello narration. Every moment of the fourth-wall interview is just a reminder of the laziness of “The Alto Knights,” when it so desperately wants to be in the same conversation as Scorsese, Coppola, Spielberg, Eastwood, and Miller’s late-career achievements, making it ever the more mystifying that this was the final cut.
“The Alto Knights” Trailer
You can connect with Alexander and see more of his work on his website: http://alexanderwreams.com/