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The Alto Knights (2025)

The Alto Knights, from the creative team behind famous mafia movies like Bugsy and Goodfellas, feels like a dozen mob movies thrown into a blender: recognizable elements mashed together but lacking a cohesive vision and distinction. There’s also a major creative choice that makes little sense, mainly Robert De Niro plays two different roles. I assumed they would be twins or at the least brothers but no they are actually two different, unrelated people, Frank Costello and Vito Genovese. Why? I understand the appeal to De Niro fro an acting standpoint, as well as the potential marketing hook, but what about this makes sense for the viewer? What about this movie made it better by having one actor portray the two main characters? It made it harder for me to keep track, and that’s before there’s flash-forward interviews from an older Frank as well. The story is mostly set n the 1950s New York following the rivalry of two childhood friends-turned-mafia bosses but it feels so haphazard and jumbled, with story events crashing into one another but minus a clear sense of progression and consequence. It’s a strange experience to watch a movie with murders and marriages and the dissolution of personal relationships through paranoia and greed, and yet The Alto Knights lacks energy and direction. It’s hard to follow why these two guys are worthy of their own movie or even what their role in the larger mob ecosystem was, so watching scene after scene creates a “So what?” question. Unless you’re a non-discriminating fan of all mafia movies, The Alto Knights is the disappointing residue at the bottom of the mob blender. But hey you got extra De Niro!

Nate’s Grade: C

Searching (2018)

Searching is a clever, crafty found footage mystery told from the point of view of a computer screen. Unlike many found footage entries, writer/director Aneesh Chaganty has put considerable thought into the mechanics of his storytelling gimmick. The opening sequence even reminded me of Up as far as how deft it was with the economy of storytelling while providing an affecting emotional blow. In the opening, we watch a little girl grow up as computer technology and websites also advance documenting her life, culminating in her mother getting cancer and passing away, communicated via a “Mom’s Coming Home” date removed from a calendar. It was so well done I actually felt like I just might summon some tears for the passing of this woman. Right away I realized I was in for something special. Flash forward and the teen daughter goes missing and her stressed-out father (John Cho) dives into the investigation firsthand by looking through her online history and realizing how little he may have known his not-so-little girl. The movie illustrates nicely how easy it is to hide your real self online and how easy it is for others to find you and your digital impressions. Every time Cho is visiting a website, whether it’s Venmo or Instagram or Facebook or a webcam, there’s a solid reason for it and the movie has a satisfying step-by-step progression. The mystery has plenty of unexpected twists and turns and it’s anchored by a harried and distraught Cho (Star Trek Beyond), who does not look like he’s in his mid 40s at all (Kal Penn has also aged well, which makes me only want a cross-generational Harold and Kumar sequel more). The only knock on Searching is that there really isn’t a pressing need to see it on the big screen. After all, you’re watching a computer screen and typing for much of the movie. It will play just as well, if not better, on your home television or whatever smaller screen is at your discretion.

Nate’s Grade: B+