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

Great cast (Robert Duvall is awesome). Funny and interesting storyline up until the final act in which it nearly falls flat.

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

This has to be the worst movie I've seen in a long time - good actors yes, but it was like watching paint dry. First of all the trailer is completely deceiving ... it's not a comedy and even Bill Murray doesn't bring much humor (and I love Bill Murray). It a drama ... a very very slow drama. Painfully slow. Go ahead and lean of the fast forward button ... you won't miss a thing. Absolutely terrible!!… Expand

Stunning photography, fine, understated performances for a brilliantly subtle and credible story. Stunning photography and lighting. And some should not speak for the whole audience, I am sure many don't feel they wasted time waiting for "the lame reveal." I thought it was a fine wrap up, but the journey is so lovely, it hardly matters by then. My only complaint is an unnecessarily long sidetrip regarding the old preacher friend. It could've been done quicker and the movie would've been stronger by losing ten minutes or so. Absolutely authentic sets, lighting, costumes, and accents. Did I mention the stunning photography?… Expand

As usual, Robert Duvall was great! Lucas Black, Bill Murray and Sissy Spacek were terrific as well.

Not what I thought it would be, but that's okay. This is a performance driven film that is so crammed full of talent it's crazy. The element that immediately sticks out for me is the wonderful photography throughout, but that's my obsession. I would probably have to watch this movie again, now that I have come to grips with what this film is not, to feel the full effect of it. The plot is elegantly simple, and the script is reserved, and allows the performers to blow our socks off. There is room for improvement no doubt, but it is difficult to know where and how those improvements could be employed without doing harm to the charms this film does possess. I would have been nice if the party had been more fun. That would have been the pay off for all the water the viewer must carry in this film, and would have definitely endeared us more to Robert Duval's impenetrable character. More of Bill Murray is ALWAYS a good thing too...… Expand

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.

This review contains spoilers, click expand to view. A wonderful character driven tale featuring two of the best actors alive today. This movie would be a 10 all time great film if it were a few minutes shorter. What does that mean? The last scene in the movie is so awful that it is mind blowing. I would HIGHLY recommend anyone who has not seen this movie yet to stop the movie at the end of the scene where everyone rides away from Felix's in the hearse. The next, and final, scene of the movie will completely destroy the feel/emotional depth, subject you to terrible music (in a film with excellent music overall), and generally ruin everything. The clearly tacked on afterthought of a last scene is either some sort of joke or was added to prevent audiences from having to think on their own. I cannot stress this enough: DO NOT WATCH THE LAST SCENE. If I could unwatch that last scene "Get Low" would be, without a doubt, my favorite film of 2010.… Expand

Robert Duvall is at his crustiest as a 40-year hermit who decides to throw a funeral party so he can hear what people have to say about him. Bill Murray turns in an amusing performance as the shifty funeral director and Sissy Spacek is sweet and touching as a woman from the past. The lighting is lovely throughout and the period styling is attractive. The solid performances, capable screenplay and quiet direction combine to make this an effective, but not particularly memorable character study.… Expand

This is a great movie. Every actor is right on their game, the story is gripping and the atmospherics are pitch perfect. Bill Murray never disappoints! Younger viewers might not appreciate the methodical unfolding of plot, development of characters and establishment of the setting, but there are some gunshots and other action treats for the millenial crowd.

I bought it. Made me cry. Made me laugh. And it was "true". Sure, there was a microphone cable, sure, the actor was and wasn't there in the background in one shot. So what? Was that what I was looking at and thinking about? I enjoyed what they enjoyed, making a movie together. Wonderful experience.

This review contains spoilers. "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.… Collapse

Yesterday I saw "Inception" and afterwards posted a review on this web site. My score for the film is not as important (I gave it an "8") as the fact that the film had an overall User Score of 8.4 with comments like "the best movie I have ever seen" and "a total mind f**k"" while "Get Low" has a score of only 7.7. While I enjoyed "Inception" (I invite you to check out my review to see why), my evaluation was based on the things that, to me, make a movie noteworthy and having my mind f**ked over by an incredulous, hard to follow story and state of the art visual effects are not on the list. "Get Low", on the other hand, has the things I look for in a film such as a interesting story about 3-dimensional believable characters that I care about with actors portraying them in memorable performances. It also has heart. I realize that "Inception" is a film that appeals to a wider, and certainly younger, audience demographic than "Get Low", but this is unfortunate. Come Academy Awards time, "Inception" is certain to be nominated (and even win) for the gimmicks it provides audiences in its tricky story, inventive direction and awesome special effects, but "Get Low" will get its nods as well, not for being the movie flavor of the year, but rather a well made film of a story with humanity. Thanks to Director Aaron Schneider, Writer Chris Provenzano, Actors Robert Duvall, Sissy Spacek, Bill Murray, Lucas Black et al. for a wonderfully inspiring and captivating film. While there is a need for films like "Inception" in the art of film making, hopefully there will always be a place for movies like "Get Low" as well.… Expand

Lots of Acting, Acting Acting. All all for naught. There's a mystery that we're teased with but when it's finally revealed the audience feels a "we sat through all that for that lame reveal!" Also, there's little pacing, the tempo of the film is completely flatlined. Well shot, well acted but adding up to a big waste of everyone's talents.

A spectacular, dark and funny film, with rich performances, and beautiful visuals. What more could one ask for in a film? Robert Duvall delivers one of his most compelling performances, and Bill Murray has another briliant arthouse film in his Filmography. The director, despite being a freshman, carries out a very specific, and stylistic vision, which i hope he retains in future films.

Best movie I have seen this year by far. And, yes, that includes Inception, which I hated. Bill Murray and Robert Duvall play, possibly, their best roles ever.

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