Get Low

User Score

Generally favorable reviews- based on 58 Ratings

User score distribution:
  1. Positive: 41 out of 58
  2. Negative: 7 out of 58

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User Reviews

  1. Oct 9, 2013
    This was an interesting movie I will give it that, but comes very short of amazing.It`s worth watching, but nothing that will make it memorable on the long run.
  2. Jun 7, 2012
    A main purpose of watching this indie film is to make my own decision if Robert Duvall has received a cold-shoulder for another Oscar-nomination, as it proves the film without any question is Mr. Duvall's personal acting vehicle while the film itself is a rather hit-and-miss debut for director Aaron Schneider.

    The entire film is being engulfed by the ominous tension to unveil what â
  3. j30
    Sep 22, 2011
    Great cast (Robert Duvall is awesome). Funny and interesting storyline up until the final act in which it nearly falls flat.
  4. Aug 1, 2011
    This review contains spoilers, click expand to view. Get Low may be perceived as an odd movie at first glance but it definitely is an interesting one. When you have two legends in one movie, Robert Duvall and Bill Murray, you should get a good movie and this is a good one. The way it strings the â Expand
  5. Apr 13, 2011
    Robert Duvall is in majestic form as a backwoods recluse with a painful secret in this slight, but engaging film set in 1930s small town America. Bill Murray has a nice turn as a pragmatic funeral director and Lucas Black gleams with clean cut charm as his mustard-keen protege. It all ticks along nicely, but somehow leaves the impression of having petered out without leaving much behind it.
  6. Sep 16, 2010
    This review contains spoilers, click expand to view. "Get Low" isn't the first time that Robert Duvall has played a hermit. There was "Sling Blade", of course, with Duvall playing a cuckolded husband who suddenly became a widower after his retarded son used a sling blade, "some call it a kaiser blade", on his incontinent wife, Karl Childers' mother, half a lifetime ago, and transmuted into a lonely, old geezer; a recluse, waiting to die. Duvall also played the hermit as a young man in Joseph Anthony's rarely-seen "Tomorrow"(based on a rarely anthologized William Faulkner short story from a novel of linked stories called "Knight's Gambit"), a hermit named Jackson Fentry, a cotton farmer whose monosyllabilism and maladroit consuetude toward the enceinted woman he courts, then weds, is unrelenting from start to finish. Duvall never betrays Jackson's history of societal isolation by being normal; the pre-"Godfather", that is to say, the pre-iconic actor never breaks character for the sake of a more accessible film. Reported to be the septuagenarian artist's favorite role, Jackson Fentry lingers in his aloof state because "Tomorrow" is steadfastly realistic about human nature; it knows that people don't change their stripes overnight, like in the movies, like in "Get Low". Felix Bush, Duvall's latest hermit, to be sure, is an eccentric, but he doesn't exhibit the tell-tale signs of a man in exile; he's too congenial, too chatty, attributes not at all in alignment with a penitent man, a tortured man who castigated himself for the great fire that consumed the great love of his life, when he interacts with the townsfolk(some of whom he'd been out of touch with for over forty years) with the same ease and familiarity as his horse. A carpenter by trade, Felix had erected a grand cathedral of wood with his own bare hands; a church that's still standing, a black church(echoing Faulkner's "The Sound and the Fury", "Light in August", among others) presided over by the same black minister, Charlie Jackson(Bill Cobbs), who asks his old friend if he made peace with God. No, he hasn't. That's the reason behind Felix's disappearing act, the conversation with his maker which never transpired, hence, the unremitting cold shoulder he imparted to everybody in both heaven and earth, including himself. In "Tomorrow", Duvall managed to adumbrate his natural born charisma just so, in order to make Jackson Fentry lovable in his unlovableness. The cotton farmer is taciturn, to say the least. That's not the case here. Duvall's performance is calibrated to entertain you, not pain you; his wintry flirtation with Mattie(Sissy Spacek) and camaraderie with the guys back at the funeral home(Bill Murray and Lucas Black), despite being sturdily acted by all parties concerned, strikes a false note. "Get Low" extemporaneously accentuates this bum note when Frank Quinn(Murray, in his most dramatic role since "The Razor's Edge") is dumbfounded by how articulate his client can be(regarding the money that people send in for Felix's funeral party), curiously so, unlike Jackson Fentry(who provided the template for Karl Childers in Billy Bob Thornton's directorial debut), a maladjusted hick, perhaps, suffering from some degree of mental retardation himself, who wouldn't have gotten a word in edgewise with the slick funeral home director. Felix seems too amiable, and that's why "Get Low" fails on some level, an Aristotelian one, since Duvall is just being Duvall, hamming it up, instead of imitating the lost soul that Felix pertains to be. Expand

Awards & Rankings


Generally favorable reviews - based on 35 Critics

Critic score distribution:
  1. Positive: 32 out of 35
  2. Negative: 0 out of 35
  1. 80
    Though the story sometimes wanders into hazy, corny sentiment, its protagonist (called Felix Bush, which was apparently a nickname or alias of Breazeale's) is vivid, enigmatic and unpredictable.
  2. 80
    Get Low is deftly played, and it rarely mislays its ambling charm, but what a forbidding fable it could have been if the truth about Felix Bush, rather than emerging into sunlight, had slunk back into the woods.
  3. The period details - the cars, the clothes, the old storefronts along Main Street - are attentively described. But it's Duvall, spooky, sly, and sad, who makes all the props and the plot twists seem real.