‘Highest 2 Lowest’ Review: Denzel Washington and Spike Lee Reunite in Dazzling Thriller Suffused With Lush New York City Vibes

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Towards the close of Spike Lee’s gripping crime thriller, “Highest 2 Lowest,” a solitary credit card acknowledges: “Inspired by the great, Akira Kurosawa.” This homage doesn’t feel like mere flattery. Instead, it reflects Lee and screenwriter Alan Fox’s thoughtful adaptation of Kurosawa’s 1963 classic, “High and Low,” a taut police procedural offering a piercing critique of class distinctions in society. They treat the material with sensitivity and reverence, yet simultaneously relocate the storyline to a setting Lee is deeply familiar with. This allows Lee to imbue the film with his own unique touch, characterized by humor, stylish flair, and boundless energy.

Ever since I stepped away from New York back in 2012 with my movie, “Red Hook Summer,” the city’s allure has never faded. But returning to shoot “Highest 2 Lowest” feels like rediscovering an old friend who’s grown even more captivating. This urban jungle now serves as a breathtaking canvas where colors dance and stories unfold in ways that resonate deeply with me.

As I dive into this game, the breathtaking opening instantly captivates me – it’s set to “Oh, What a Beautiful Mornin'” from Oklahoma! The cinematographer, Matthew Libatique, gracefully guides the cameras on a swoon-worthy journey through Manhattan and Brooklyn, bathed in soft morning light. Noticeably, a large pink neon sign atop a building catches my eye, reading “WELCOME,” which could be a clever wink to the pink smoke from Kurosawa’s black-and-white original.

The camera on the mobile device eventually focuses on a high-end apartment complex in Dumbo, then moves upward until it captures Denzel Washington, portraying David King, a self-assured music tycoon, engaged in business talks over his phone on the penthouse balcony. Immediately, it’s evident that he’s a man bursting with confidence, grinning broadly about what appears to be an imminent deal about to be finalized.

In this film, it’s Washington’s fifth collaboration with Lee, and it’s evident they have a special rapport that enables them to move in sync. The partnership in this movie brings to mind another genre production, the 2006 heist film “Inside Man“, not just because of the crime elements, but more so due to its intricately designed plot, swift tempo, and electrifying atmosphere.

In this film, the skilled cinematographer Libatique was responsible for the shots as well, but his work here stands out exceptionally; it’s a visually stunning movie that radiates a luxurious luster akin to fine cashmere. Lee brings an innovative twist to the framing, incorporating whimsical elements such as transitions using the emblem of David’s record label, a split-screen layout featuring a line of guns, and a stylistic insert reminiscent of a music video, which is performed by a singer in an orange jumpsuit within prison bars. Miraculously, backup dancers appear alongside him, dancing suggestively.

When David’s refined spouse Pam (Ilfenesh Hadera) requests their customary charitable contribution for a city museum where she serves on the board, he advises her to delay it temporarily and reduce costs for now. This is not a response she’s accustomed to receiving.

As a gamer, I’m Trey, son of David, who’s grown accustomed to unfulfilled promises and setbacks from my old man. You see, he hasn’t given an ear to that demo of a promising female artist I’ve been pushing him to sign as a manager. He often brushes me off for business meetings instead of showing up at our basketball practice sessions with Kyle. (Shout-out to all the basketball enthusiasts out there, Lee cleverly includes Rick Fox among the coaches in our team.)

The significant meeting that calls David away is an audacious strategy aimed at increasing his shares to a controlling majority in Stackin’ Hits, ultimately regaining control of the company he painstakingly built over 25 years towards chart success, particularly in the early 2000s. To boost his confidence, he asks his chauffeur, Paul (Jeffrey Wright, who is both Kyle’s onscreen and offscreen father), for a theme. In response, Paul plays the timeless McFadden & Whitehead disco anthem “Ain’t No Stopping Us Now” in the car stereo.

With a well-tailored suit and stylish sunglasses, he confidently enters the corporate building as if he already possesses everything within. However, his confidence is met with resistance when established board member Patrick (Michael Potts) informs him that they have decided to sell the company to a bigger music business conglomerate that has been eyeing them for some time. Later, he confides in Pam, who expresses doubts, that he has mortgaged their penthouse and home in Sag Harbor to secure a large loan, and is determined to push through with the deal, disregarding the objections of the recalcitrant board.

However, when a call arrives, unveiling that Trey has been abducted, the corporate takeover plan is momentarily forgotten due to the family emergency. A detective team, headed by Earl Bridges (John Douglas Thompson), Bell (LaChanze) and Higgins (Dean Winters), who tends to rub people the wrong way, steps in. They establish their base of operations within the family’s dining room, aiming to track down the calls. The kidnapper sets a ransom of $17.5 million, warning that Trey will be harmed if this sum is not met.

Pam confidently states they’ll make the payment and David concurs. However, when Trey is discovered and it’s revealed that the kidnapper swapped the boys, taking Kyle instead but insists on the same ransom, David begins to hesitate. The sum of $17.5 million is a substantial amount for someone else’s child, even his godson, the son of his trusted associate. This figure would not just halt their business plans, but would essentially bankrupt them.

One notable transformation is the reimagining of the main character, initially portrayed as a timid man in Kurosawa’s adaptation, who humbly pleaded to his stern employer (played by Toshiro Mifune) to save his son. In this updated version, Paul is more assertive, particularly when his past criminal activities provoke the detectives to interrogate him. He’s not submissive towards David, despite being grateful for the job and fresh start he provided him.

A significant aspect of Fox’s script revolves around the concept of attention as a form of value. This idea is demonstrated in social media scenarios, where overwhelming affection for popular industry personality David arises when it seems his son is in peril. However, this sentiment swiftly changes once the truth comes to light, leading to false accusations such as “Nepotism Kid Trey Staged Friend’s Kidnapping.

In the end, David consents to pay back the money, banking on the cops apprehending the crook and returning it to him. A dolly zoom emphasizes how precarious this situation is for David, given that the higher-ups at Stackin’ are aggressively pushing him out of the company and even hinting at lawsuits.

In the second half of the film, action ramps up significantly, featuring a thrilling train sequence that showcases some of Lee’s most impressive technical directing feats. The kidnapper insists that David personally carry out the cash delivery on a subway train bound for Manhattan, with additional instructions to follow via his mobile phone.

Lee amplifies momentum by setting the scene amidst vibrant Puerto Rican Day festivities, where hundreds dance joyously to the lively tunes played by renowned Latin musician Eddie Palmieri and his orchestra. Simultaneously, a strategic subway entrance is barred. Inside the train, the atmosphere mirrors the pandemonium following an energetic crowd of baseball enthusiasts pouring in from Yankee Stadium.

The planned exchange doesn’t quite unfold as expected, as the kidnapper and his team turn out to be more meticulous and strategically minded than the detectives assumed. They consistently mislead the detectives with decoys and switch motorcyclists, all dressed in head-to-toe black, keeping them off track. This results in a thrilling scene, masterfully prolonged.

In a skate park in the Bronx, Kyle, who had been bound and gagged in a basement bathtub for days by his kidnapper, appeared dazed but physically unscathed. Unable to provide many helpful leads, he managed to hum a few bars of a rap song that had been repeatedly playing through the walls during his captivity.

This information is extremely useful to David, given his exceptional musical talent, but when he follows the lead on the singer provided by Paul’s dubious connection, the police seem uninterested in his findings, particularly Higgins. David and Paul then decide to pursue the singer – one of many struggling artists unable to gain entry at Stackin’ – independently, without involving law enforcement until they catch up.

Absolutely, the film takes a familiar route in Hollywood when Washington’s character transitions into a action hero, despite his prickly personality and unlikable demeanor that border on antihero status. Yet, it proves to be thrilling entertainment, introducing a humorous performance from Isis “Ice Spice” Gaston and an incredibly charming one from A$AP Rocky, who portray characters it’s better not to reveal for spoiler reasons.

A scene likely to win over viewers has David and his adversary standing on opposite sides of a studio’s glass partition, engaging in an amusing unplanned rap contest. This dynamic is mirrored later during a prison visit, where Lee strategically reduces the frame size to emphasize the tense interplay between the characters.

As a gamer immersed in this movie world, I can’t help but be swept away by the incredible music that sets the tone from the very start. Howard Drossin’s score skillfully shifts moods, moving effortlessly from somber piano melodies to jazzy crescendos that electrify the atmosphere. The title song, a thunderous power anthem, is belted out by Aiyana-Lee with such passion it feels like she’s singing straight to the heavens.

The cast in this film is nothing short of exceptional. Washington, Jeffrey Wright, and A$AP Rocky all deliver standout performances that leave a lasting impact. While I was already impressed by his work in “If I Had Legs I’d Kick You”, A$AP Rocky once again demonstrates his ability to command the screen with his megawatt presence. Simply put, this movie is an audiovisual masterpiece that keeps me engaged and excited throughout.

Lee’s interpretation deviates from the intricate portrayals of class, hierarchy, and marital dynamics that are captivating aspects of Kurosawa’s work. However, it appears he has no intention of doing so, and this is a stark contrast to his 2013 remake of “Oldboy,” which was met with disappointment. In this case, the director adopts the role of a flamboyant, stylish performer, excelling in that role and delivering a large, gleaming piece of cinema that’s purely enjoyable.

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2025-05-19 22:25