The Wasteland Reviewer

Highest 2 Lowest (2025) Written Review

Should Spike Lee really be remaking another classic of Asian cinema? His adaptation of the Korea classic Old Boy went over horribly and turned out to be an awful adaptation of Park Chan-wook’s masterpiece. To be fair though, Old Boy is a wholly unique film that also has a strange and off-beat tone and presentation. That just wasn’t a smart idea especially because it feels so Korean in the first place. But this time Lee is approaching a story that is much easier to transform and adapt to American culture…Akira Kurosawa’s High and Low. 

How does Lee adapt this classic crime thriller to reflect American culture? More specifically, Lee goes for a specific type of American culture…New York City. From the opening credits, you feel just how important and significant “The City” will be to the whole plot and story. A great needle-drop (the first of so many) and smooth camera work from Matthew Libatique (cinematographer) camera the skyline so perfectly and gives you the sense of just how organic this experience will be. The love of NYC that Lee has can be felt throughout the film. Denzel Washington’s David King lives in a tower with the film’s kidnapper staring up from the Brooklyn Bridge (some great shots throughout the film). The big set piece in the center of the film with the money “drop” highlights the culture of Brooklyn including a bit of Puerto Rican festival and impressive music performance that makes the chase that happens so much more impactful. There is plenty of music infused into the experience with King being a record label executive. The heart and soul of the city can be felt through those elements. Lee finds such a unique, personal, and deeply American way of reframing Kurosawa’s excellent film and that is one of the biggest strengths of Highest to Lowest. 

Outside of this deeply passionate stamp on the film, how does Lee direct this crime thriller? There are some surprisingly shaky elements in the film (especially in the opening act of the film). Some of the staging is awkward and leads to some of the performances feeling a little stiff. There are some editing choices including repetitive shots and quick reframing of some that might be hard to adjust to while watching. There are some interesting choices from composer Howard Drossin with the music coming off more melodramatic and cheesier. The score really comes into its own as the film goes on (with some shades of classic Kurosawa) but there are some bumpy moments early on. But once the film hits the second act, the film begins firing on all cylinders. Libatique’s cinematography is crisp and so precise with plenty of engaging and tense sequences. The music swells up and engulfs the film whether it is Drossin’s score, inspired needle drops, rich Puerto Rican music during the parade, or the impressive title song that makes for a big exclamation point at the end of the film. Lee makes this film feel urban contemporary…but there is that sharp and biting style that makes Highest 2 Lowest feel like a Joint for sure.

How does the story play out in this inspired remake? There are plenty of the key narrative beats from High and Low that are injected into Lee’s film. The only challenge is that it feels a bit safer from a narrative standpoint. But Lee can inject Kurosawa’s rich themes and add layers of his own. The moral quandary at the heart of the film hits still as a rich man is asked to give up his wealth for his friend and chauffer’s son (accidently kidnapped instead of the rich man’s son). The tension and rips of consequences from the choices makes for great drama and tension in the hands of Lee. Lee is also able to inject thrills through the parade chase as well as a slick and well directed train chase in the climax of the film. The core of the film focuses on the journey of King and how he tries to get back to its roots and the film expertly weaves in the crime elements into this journey as well. Lee does a great job of getting the audience to connect with him and the struggle he has trying to get his record label back under his control. The antagonist of the film also has a deep connection to King in this way and leads to compelling and engrossing interactions that add layers to his journey. The musical elements are a little stronger than the crime elements, but Lee does a good enough job of balancing them for maximum effect. 

But what is one of the most exciting selling points of this new Spike Lee Joint? Seeing Washington back on screen in a Lee film is quite exciting. Few actors bring the level of gravitas that Washington has. The swagger, confidence, commanding presence, and all just ooze from Washington so naturally. He sells every classy wardrobe change throughout the film. His comedic timing and Washington quirks make King feel so real and compelling. There is a moment where Washington started freestyle rapping, and it was magnetic and legit. Washington is an all-time great, and he certainly shows off in Highest 2 Lowest. There is one other performance that steals the show and that is from Jeffrey Wright. Wright’s Paul is friend and chauffeur to King, and it is his son who lies in the balance. He navigates humor and rage so well and delivers an emotionally resonant and layered performance. A$AP Rocky delivers rap music but surprises with a compelling and complex performance. There are some strong supporting turns from the likes of Michael Potts and Wendell Pierce who fill out this impressive cast. 

Is Highest 2 Lowest a great new Joint from Lee? This certainly is not one of his top tier efforts like Do the Right Thing or Malcolm X but this is an impressive effort for sure. Lee translates Kurosawa’s work into American culture much more successfully than he did with Old Boy. The sharp direction and deep passion for New York gives this film quite the punch. The use of music at the core of the film gives it so much heart and soul. Washington is giving it his all here and is supported quite well by Wright and Rocky. A strong narrative, excellent themes, and effective character work really ties this together.