Highest 2 Lowest review: Spike Lee’s Kurosawa remake is an absolute mess

by

A star rating of 2 out of 5.

Over time, Director Spike Lee and Actor Denzel Washington have created several outstanding films such as Malcolm X, He Got Game, and Inside Man, just to mention a few. Regrettably, Highest 2 Lowest does not join their impressive collection.

In a modern adaptation of Akira Kurosawa’s classic High and Low, originally based on Ed McBain’s novel King’s Ransom, this production seems to be in disarray. Despite strong acting by Washington, Jeffrey Wright, and A$AP Rocky, the film is undermined by a script that is not only weak but also unintentionally amusing. To put it mildly, if Kurosawa’s work represents the pinnacle of cinema, Lee’s falls far short.

Excluded from the Cannes Film Festival competition, the movie features Denzel Washington portraying David King, the chief of Stackin’ Hits Records – a struggling music empire. Amidst significant business negotiations aimed at company refinancing, he is hit with devastating news: his 17-year-old son Trey (Aubrey Joseph) has been abducted.

Contrary to what one might think, it wasn’t Kyle, David’s friend Paul (Wright)’s son who was kidnapped. Instead, the kidnappers made a mistake and took Kyle away. The ransom they’ve demanded is exorbitant: an astounding $17.5 million, in 1000 Swiss Franc notes.

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Initially, the king refused to make the payment, yet when Trey’s safe return was widely celebrated on social media platforms (“Black Twitter is relentlessly criticizing me!” he exclaimed), the tycoon eventually recognized that paying the ransom would be more advantageous for public relations purposes.

Next, there’s a sudden appearance of money being scattered across the New York subway, orchestrated by the main kidnapper, Rocky, who leads King on a futile pursuit. The scenario offers thrilling instances, yet it’s tainted by questionable decisions made by Lee.

The timing of the drop is planned to align with a Yankees game and a lively Puerto Rican music event taking place on the streets, which surprisingly includes captivating cameos by Rosie Perez, famously known for her role in Spike Lee’s Do The Right Thing, as well as Anthony Ramos.

King navigates the subway car, met with a cacophony of Boston-bashing cheers from boisterous baseball spectators, with an especially passionate leader taking aim at the camera.

More reviews from the Cannes Film Festival:

  • Die My Love review: Jennifer Lawrence is superb in this absorbing and quietly devastating drama
  • The Phoenician Scheme review: Wes Anderson’s latest is a quaint tale of industrial espionage

In the style of a new episode of The Equalizer, Washington’s actions might leave you puzzled, cause you to do a double-take, or even burst out in disbelieving laughter.

When Washington reaches the door labeled ‘A24’ of the kidnapper’s apartment, using a reference from the movie production company A24 might have been clever, but instead it undermines the intended dramatic intensity.

In another scene, King is found inside his office, lamenting before photos adorning the walls depicting legendary musicians such as Aretha Franklin, James Brown, and Stevie Wonder. His question echoes through the room: “What would you all do?

In every instance, Washington maintains an appealing aura, while Jeffrey Wright consistently delivers as Paul, a man who’s never made demands of his friend-boss, but now desperately relies on him to retrieve his son. A$AP Rocky, although embodying a character somewhat similar to himself, demonstrates the courage to stand up against Washington.

This movie, however, appears to struggle with its identity. It’s only marginally successful as a suspenseful tale. Moreover, it doesn’t seem to offer any compelling insights about social media or the music world.

In this fast-paced world we live in, attention seems to be the most valuable commodity. Indeed, it’s challenging to fathom a time when people wouldn’t notice if someone like me stepped on a cherished Japanese film masterpiece.

The movie is quite eclectic, ending with a song and dance routine. After all, such an unconventional film isn’t afraid to experiment by tossing diverse elements around and seeing which ones resonate. However, many of its attempts fall flat.

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2025-05-20 17:04