In ‘Highest 2 Lowest,’ Spike Lee swings between tonal extremes, not always effectively

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Right from the start of “Highest 2 Lowest,” Spike Lee’s reinterpretation of Akira Kurosawa’s 1963 crime thriller “High and Low,” it’s clear that the director is more interested in fun than anything else, inviting us to join him in the ride.

From above, the sun rises over the New York City skyline, showcasing the imposing Olympia building in Brooklyn. Amidst this backdrop, filmmaker Lee introduces “Oh, What a Beautiful Mornin'”, the opening number from the 1943 Rodgers and Hammerstein musical “Oklahoma!”. This unexpected, playful selection breaks our preconceived notions of what a Spike Lee-Kurosawa collaboration might look like.

For a while, the Japanese director significantly impacted Lee’s work. When the script for “Highest 2 Lowest,” originally being developed by other filmmakers, fell into his hands, Lee put his personal touch on it. He also cast his long-term partner Denzel Washington, making them an ideal match. Just as Kurosawa worked with Toshiro Mifune, Lee has collaborated with Washington for the fifth time in their shared cinematic journey.

While the concept sounds impressive, the final product on screen can be confusing and jumbled. Kurosawa’s film “High and Low” was adapted from a 1959 cop novel “King’s Ransom,” exploring a moral dilemma for a wealthy man that turns into an identity crisis. Set during Japan’s post-World War II economic growth, the movie delves into class disparities in the country. However, Lee’s adaptation also touches on wealth gaps but primarily focuses on the influence of social media masses shaping the 21st century attention economy.

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In a fresh and engaging style, the director’s recent creation – a high-octane kidnap drama unfolding in his cherished New York City – demonstrates his renewed enthusiasm and lack of desire for retirement.

Upon our encounter with David King (based in Washington) on his luxurious penthouse balcony overlooking Olympia, he senses an impending change on this radiant morning. As a renowned music tycoon, King had suspicions that his firm, Stackin’ Hits, was about to be sold without his knowledge. Covertly, he had devised a strategy for a leveraged buyout, aiming to seize control of the sale. However, when a call came through informing him that his son, Trey (portrayed by Aubrey Joseph), had been abducted from the streets and the captors were requesting $17.5 million as ransom, his plan to save his company was swiftly dismantled.

Later on, Kyle (Elijah Wright), who is the close friend of Trey’s son and the child of Paul (Jeffrey Wright), a devoted Muslim with a wealth of street wisdom but limited funds, gets kidnapped instead of the intended target. In this situation, David experiences relief, only to find himself in a dilemma: whether he should pay the ransom to save his confidant’s son and potentially protect his own image amidst media attention, or stick to his plan and safeguard his company.

The film by Kurosawa begins with the highest and ends with the lowest, mirroring this structure in its portrayal of contrasting worlds. The opening hour is spent within the opulent surroundings of the Kings’ apartment, filled with expensive contemporary art pieces by artists like Basquiat and Kehinde Wiley. As the camera moves over these masterpieces, one can’t help but ponder if selling a few might alleviate his financial woes.

The opening hour of “Highest 2 Lowest” is somewhat puzzling, with standout cinematography by Libatique that’s hard to fault. However, the film’s melodramatic atmosphere, due in part to Howard Drossin’s excessive and attention-grabbing score, as well as weak performances from secondary actors, give it a feel reminiscent of a Tyler Perry production rather than a classic Spike Lee project.

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In simpler terms, Kristen Stewart’s first directorial venture received a lukewarm response, while Mubi, the distributor responsible for ‘The Substance,’ decided to finance ‘Die, My Love,’ which features both Jennifer Lawrence and Robert Pattinson in the lead roles.

Afterward, the film’s release: It takes to the streets and Lee delivers a stunning example of dynamic New York City cinema, a chase scene involving a subway car filled with Yankees fans vocalizing their anti-Boston feelings, contrasted with a performance by the Eddie Palmieri Salsa Orchestra during the Puerto Rican Day Parade. Ultimately, it’s clear we’re in for something special. This sequence is one of the best of the year.

David and Paul decide to investigate Kyle’s kidnapping themselves, discovering that the culprit is a burgeoning rapper named Yung Felon, who displays exceptional talent similar to ASAP Rocky. In the latter part of the film, there are two thrilling scenes where Washington and Rocky clash, these encounters taking place on opposite sides of glass: a recording studio and a jail visitation room. Notably, Rocky delivers an impressive acting performance that matches Washington’s casual yet intense style, also providing a fantastic track for the movie’s soundtrack.

Washington’s performance is captivating, filled with subtle nuances and humorous quips. Yet, there remains a sense of over-the-top comedy that sometimes overshadows the grittier aspects of the script. This could be seen as a deliberate homage to the film’s theatricality, an intentionally self-aware production brimming with references. However, this approach may create a barrier between us and the characters’ emotional journeys. When Lee delivers a heartfelt message about genuine art born from the soul and the importance of preserving Black culture, it comes across as somewhat incongruous given its late introduction in the narrative.

In ‘Highest 2 Lowest’, there are both peaks and valleys. The peaks are incredibly uplifting, while the valleys, despite being challenging, are quite persistent.

Katie Walsh is a Tribune News Service film critic.

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2025-08-14 13:33