Aaron Schneider’s feature film debut, Get Low, opens compellingly enough with an image of a house ablaze in the night accompanied by some brooding music that makes you feel like you’re in for something really good because somebody did something really bad.  It’s seems the tone has been set. 

Robert Duvall, grizzled as all heck, commands the next few scenes as we get glimpses of his hermit life.  But then Bill Murray, deadpan to the point of inertia, shows up as a funeral director lamenting that nobody seems to be dying in this Depression-Era Tennessee town, and everything goes out of tune.  Continue reading →