I really wanted to like this movie. But within the first few minutes its attempt at being a film noir was an epic fail. The script read like a theatrical production rather than a cinematic feature. And every character was a cliché: The main character, Lou, is an aging mob soldier who requests a murder contract in an attempt to capture his younger glory days. Add to that his longtime spurned lover, his dysfunctional daughter, his young and innocent grandson, and the pair of big city cops on his tail. Not only were all of the characters a cast of clichés, but the storyline was as well. To add to it, every character had one dimension of emotion, which was anger. It gave the audience no reason to like anyone or remain engaged in the story. By the end, this film became a caricature of itself.

Lou Marazano, an aging mobster in Chicago, needs another job to help him get away from the city where he has lived all his life. The only way to do it is to ask Lorenzo Galante to give him some work. Unknown to him, mafia boss D'Agostino's trial is coming up. A few people must be eliminated, so Galante offers Lou a deal he cannot refuse. There are three people that know too much who are on the way of the boss' legal process. Lou's job, if accepted will get rid of the possible witnesses.Lou's life is not exactly a bed of roses. His relationship with Lorraine has seen better days. He has neglected her, so when he comes for her at the joint where she works, she figures he has changed. Wrong! Even though he obviously had a thing for her, he returns so she can be his alibi for the investigation that the police are going to pin on him, eventually. His estranged daughter is divorced, living with his grandson in the suburbs.Lou makes a mistake by sending flowers to the wife of the first man he kills. An old detective, Rey Berkowski, puts two and two together, remembering a string of killings that remind him of Lou's work. Marazano realizes he must act quickly if he wants to get away with some cash. Eventually, Galante and his men come after him. Lou is able to outsmart them all."Chicago Overcoat" is an indie that showed up on cable recently. It was a surprise for us, not having a clue as to what it was all about. Based on a story by Brian Caunter, the director, and John Bosher, the screenplay is a collaboration by the duo with Andrew Dowd and Josh Staman. There is plenty of action for fans of the genre. In fact, there is nothing new in the film, and yet the viewer is never bored. Part of the success of the film is the wonderful cinematography by Kevin Moss who keeps his camera absorbing the atmosphere of Chicago at its photogenic best showing different ethnic areas in contrast with the sleek skyscrapers.The best reason for watching "Chicago Overcoat" is veteran character actor Frank Vincent, who has been seen in many films and series. Always a tough guy, he shows a different angle in this picture. He does amazing work for director Caunter. The supporting cast includes Kathrine Narducci, Mike Starr, Stacy Keach, and Armand Assante, among the large cast.Although this is a variation on a theme that has been seen before, the film does not disappoint.

I cannot recall another movie of this type where the protagonist, an elderly mafia hit-man,comes across as one of the better individuals we encounter. And this impression manages to persist despite the multiple crimes we see him commit. Basically he's a bad guy doing bad things to bad people for a good reason. The scenes between Dannny Goldring as the burnt-out cop on the verge of retirement and Frank Vincent as the washed-up hit-man, two has-beens on opposite sides of the law, were especially well done. Solid performances by all the cast, especially Mike Starr as repulsive Mafia Boss Lorenzo Galante. Incidentally both Frank Vincent and Mike Starr appeared in Goodfellas. Personally I find this lower-key movie the better of the two. For some reason this movie seems to have been completely overlooked, perhaps the absence of moral blacks-and-whites put reviewers off. But if you like the genre you will enjoy this one.

I finally got to see this (Let's just say it fell off the back of a computer) after waiting for a year because I am, admittedly, a Frank Vincent fan (we share common roots, and I got to meet him, nice man) and a mob movie fan.So what we have here is a well produced film that doesn't know what it is about. Mob movie, Conspiracy movie, semi-Action movie, Character Study, Shoot-'m up? I like all of them but not when they are put in a blender. It is a director failure primarily, with some good writing, but not much.Vincent is great as always given what he has. He wisely nuances his Jersey accent into a Chicago one without trying to go all the way in to play as a Chicago native and make a blatant mistake. It works. Kathrine Narducci is truly excellent in a limited role.But that is about where the acting ends. Aside from Armand Assante and Stacey Keach in cameos that last minutes and seconds, the cast in this is pretty awful. Again, this is in the end a director failure.Some of it is just silly...a hood with a record keeps a Thompson submachine gun in plain view on a wall in his apartment. Federal rap? No Problem. And he keeps it there for nostalgia for the old days...is he 95? The Thompson is Al Capone, not the 60's and 70's Vincent's character would have come up in.No, I really wanted to like this, but there is nothing even remotely new here...it's one of those annoying movies where you sit there and identify the other movies you saw it in as you go along.BIG SPOILER ALERT!! Do not read further before seeing!! Danny Goldring is absolutely horrid in this as the driven older detective. Just horrid. You clap your hands and go "Yes!" when Lou shoots him in the face and walks away. It is intended as irony...it ends up as just being glad somebody shot the actor.