‘Highest 2 Lowest’ Review: Spike Lee’s Kurosawa-Inspired Kidnapping Drama Isn’t So Much a Remake as a Manifesto

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Remaking a movie like “High and Low” comes with significant risk. The original 1963 version by Japanese master Akira Kurosawa, with its gripping portrayal of a kidnapping that leaves an influential businessman shattered, has set the bar extremely high. So, even in the capable hands of a director as talented as Spike Lee, there’s always a concern about how far a contemporary New York adaptation might fall short.

For about three-quarters of its duration, Lee’s “Highest 2 Lowest” surpasses even the most optimistic expectations (comparatively, it’s a stark contrast to his controversial U.S adaptation of “Old Boy”). However, a unique scene, absent in Kurosawa’s version – a confrontation between Denzel Washington and A$AP Rocky as a man daring enough to kidnap his own son – propels the movie into an extraordinary realm, offering a climax that is both innovative and deeply emotional.

In conclusion, Lee’s adaptation of “High and Low” has soared to unprecedented heights, offering a thought-provoking genre film that both enthralls and warns about potential cultural developments. Slated for streaming on Apple TV+, this cinema-quality production is expected to excel when A24 releases it in cinemas on Aug. 22, following its debut out of competition at Cannes three months prior.

Stepping into the cinema, I was greeted by the lively tune of “Oh, What a Beautiful Mornin'” echoing through the theater speakers, setting the stage for a New York City backdrop. In this tale, we follow David King, a successful hip-hop mogul, perched atop his world on the balcony of his luxurious penthouse apartment in the breathtaking Olympia Dumbo building, nestled in the heart of Brooklyn. The narrative unfolds with Washington’s character poised to secure a controlling interest in Stackin’ Hits, the record label he co-founded over two decades ago.

In his long career in the music industry, David has accumulated only two significant achievements – Stackin’ Hits being one, and his family being the other. His family includes his wife Pam (Ilfenesh Hadera) and their teenage son, Trey (Aubrey Joseph), who possesses a keen ear for new talent that could potentially sustain the label amidst the industry’s rough times. With David recently liquidating his investments and mortgaging both of his properties to gain control over the company he co-founded, he suddenly receives a call alleging that Trey has been kidnapped.

17.5 million Swiss francs is the hefty ransom demand threatening the King family, causing a temporary halt in their plans. However, this is merely the beginning of several unexpected turns (as before) that place David in a dilemma over whether to meet this demand. A fresh element has emerged in his decision-making process: public opinion, specifically the way the situation is portrayed on social media. David grapples with the notion that appearing as the individual who purchased a company while allowing funds that could have saved an innocent teenager’s life to be squandered would tarnish his image.

Three NYPD investigators (Dean Winters, LaChanze, and John Douglas Thompson) are certain they can recover the stolen money, but the kidnapper is proving to be more cunning than anticipated. Instead of allowing them to retrieve it directly, he instructs David to deliver the funds via subway, only for the money to vanish amid the bustling Puerto Rican Day Parade in the South Bronx. This thrilling scene, energized by pianist Eddie Palmieri’s street performance, is a breathtaking action sequence that immediately rivals some of the greatest New York City action scenes ever filmed, including the chase from “The French Connection” and the Five Points conflict in “Gangs of New York.

Lee has been setting up much more than just the narrative leading up to this point, but from now on, the movie takes hold, thrusting us forward with a powerful, dramatic momentum that showcases his talent as an exceptional director when all elements align. Similar to Kurosawa’s adaptation of the novel “King’s Ransom” by Ed McBain, a critical mistake by the kidnapper pulls David’s oldest and most intimate friend, Paul (Jeffrey Wright), into the situation. Screenwriter Alan Fox emphasizes the strong connection between these two men while also shedding light on how law enforcement treats them differently.

David is among the city’s highly successful Black businessmen, which earns him particular respect and collaboration. However, Paul has a past criminal history, leading people to initially view him with suspicion. Interestingly, when circumstances change, it appears that the police are less willing to assist Paul than they were David. Yet, Paul isn’t without his resources; he reaches out to his network, often referred to as “the streets,” which provides crucial insights for the ongoing investigation.

Two exceptional actors, Washington and Wright, are hard to top for these roles. Their fifth collaboration, the reunion of Washington and Lee, provides an opportunity to further enhance their long-standing artistic legacies. In this story, Denzel Washington portrays a character named King, while images of a young Denzel can be found throughout his office. King’s residence is a testament to Black excellence, designed with the vividness of a Pedro Almodóvar film (its vibrant walls decorated with paintings and artifacts from Lee’s personal collection), thereby blurring the line between the filmmaker and his fictional character.

Theoretically, paying the ransom could potentially derail David’s ambitious ventures within the music industry, causing him to reevaluate his priorities. In an unexpected turn of events for the remake’s climax, Washington, embodying the Equalizer and self-proclaimed “Chance-Giver,” squares off in a spur-of-the-moment rap battle with A$AP Rocky, demonstrating why he reigns supreme. As David regains what he cherishes, Lee’s emotions resonate, reflecting his roles as a film instructor, truth-speaker, and pillar of the community. These feelings erupt in the final act — in an exhilarating musical performance that serves as the movie’s namesake and in a concluding scene that showcases Lee’s artistic integrity, explaining why he dared to rework such a revered piece as Kurosawa’s magnum opus.

Initially, New York stands out as a world apart, contrasting sharply with 1960s Tokyo. This project serves as an opportunity for Lee to express his current connection with the city. In David’s words, “One must either construct or demolish in this realm.” If not handled carefully, reimagining “High and Low” could have lessened its original impact, but in this scenario, it is evident that Lee brings something essential to the table.

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2025-05-19 22:16