The film, previously titled “Wise Guys,” marks an ambitious return to studio filmmaking for Levinson, whose last theatrical triumph was 1997's “Wag the Dog.” At its core lies a fascinating premise: the 1957 attempted assassination of crime boss Frank Costello by his former friend Vito Genovese. It's the kind of rich, character-driven narrative that once defined Levinson's best work in films like “Rain Man” and “Bugsy.” Yet early reactions suggest the director's bold choice to cast Robert De Niro in both leading roles may have been the film's first misstep in a series of unfortunate creative decisions.
Recent test screening reports paint a particularly grim picture. The dual casting apparently creates severe limitations in how these characters can interact on screen, reducing potentially dynamic confrontations to static, across-the-table exchanges. More troublingly, the film seems to fumble its central dramatic premise – the dissolution of a lifelong friendship. By rushing into the conflict without establishing the relationship's foundation, “The Alto Knights” risks becoming another hollow entry in the increasingly tired mobster genre.
The involvement of Nicholas Pileggi (whose book “Wiseguy” became Scorsese's “Goodfellas”) offered hope that this $50 million production might capture some of that film's electric energy. But the scattered positive mentions of “outstanding sequences” in test screening reactions suggest isolated moments of brilliance drowning in a sea of missed opportunities. Debra Messing's role as “the wife character” appears to fall into the all-too-common trap of reducing female characters in gangster films to mere narrative accessories.
There's a certain irony in watching Levinson, who built his reputation on intimate character studies like “Diner” and sharp social commentary like “Good Morning, Vietnam,” struggle with what should be familiar territory. His recent work for HBO, particularly “You Don't Know Jack,” proved he hasn't lost his ability to craft compelling drama. But “The Alto Knights” seems caught between the demands of modern studio filmmaking and Levinson's more nuanced sensibilities.
With its March 21, 2025 release date approaching, Warner Bros.' apparent lack of enthusiasm – evidenced by their mishandled trailer release and minimal promotion – suggests they may have already written off this passion project as a costly misstep. While there's still time for post-production tweaks, the fundamental issues reported from test screenings would require significant reshoots to address.
In an era where streaming platforms are increasingly becoming the home for mature, character-driven dramas, “The Alto Knights” feels like a relic of a bygone Hollywood – not because of its period setting, but because of its dated approach to storytelling. The tragedy isn't just that it might fail, but that it might discourage studios from taking similar risks on veteran filmmakers attempting ambitious, adult-oriented cinema.
Personal Impression: What saddens me most about these early reports is the lost potential. The pairing of Levinson's humanistic touch with De Niro's legendary mob movie credentials should have been a match made in cinema heaven. Instead, it appears to be a cautionary tale about how even the most talented filmmakers can be undone by questionable creative choices. The decision to have De Niro play both roles feels less like innovative casting and more like a gimmick that sacrifices dramatic authenticity for technical showmanship.
In an age where de-aging technology and dual roles are becoming increasingly common, when does technical ambition begin to overshadow storytelling fundamentals? Should veteran filmmakers like Levinson be taking more risks or playing to their established strengths?
