'Highest 2 Lowest': Spike Lee and Denzel Washington Reunite for a Riveting Remake

PHOTO: Apple Original Films

It takes a bold filmmaker to attempt to remake a classic like Akira Kurosawa’s High and Low, and Spike Lee certainly fits that bill. A man who needs no introduction, Lee has made a name for himself as one of cinema’s most ambitious and reactionary directors. The fact that he is taking on a remake of a beloved film is already enough to get most people’s attention. But the fact that he’s reuniting with Denzel Washington for the first time in nearly 20 years makes this one of my most anticipated films of the year. Washington is one of those actors who is never bad in my eyes, and even the weakest of Spike Lee’s joints is still more interesting than most films out there, so I had high hopes for Highest 2 Lowest. And thankfully, it didn’t disappoint. Yes, it has some of Lee’s worst tendencies on display, but it also features much of what he does best. Bolstered by an incredible Denzel Washington performance, Highest 2 Lowest is a thrilling update of High and Low that is tense, engrossing, and once again shows that there is no filmmaker out there like Spike Lee.

Music mogul David King (Denzel Washington) has it all: a loving family, immense wealth, and a legacy of having “the best ears in the business”. This all changes when he believes that his son, Trey (Aubrey Joseph), has been kidnapped and is being held ransom. However, it is soon discovered that the kidnapper took Trey’s friend, Kyle, who also happens to be the son of David’s chauffeur, Paul (Jeffrey Wright). As David wrestles with whether or not he should pay the ransom, as well as a major business deal for his record label, he confronts the price of success, as well as the possibility of losing everything he’s worked for.

As a major fan of Spike Lee, this film is like catnip to me. It has a coolness to it that his work tends to have, heavy use of music, and some big swings that may not always work, but are fascinating nonetheless. I was particularly taken by the film’s camera work, coming to us courtesy of Matthew Libatique. I noticed that a lot of the scenes that take place in David King’s penthouse home have a clear, polished, almost artificial look to them, while the film’s big subway sequence has a graininess to it. This helps further define the film’s commentary on class and wealth, and gives the film an interesting look. The film’s use of light also plays into this, as the penthouse scenes and the scenes at David’s record label are often brightly lit, while scenes that take place in other parts of the city are a bit darker. These elements make for simple yet effective storytelling, and provide an interesting parallel to the film’s divide between “high” and “low”.

Music has always been a major feature in Spike’s entire filmography, and Highest 2 Lowest continues that streak. However, the film’s score is a bit baffling to say the least. This is one of the rare Spike Lee films not to be scored by frequent collaborator Terence Blanchard, and is instead scored by Howard Drossin. Drossin’s score is almost overpowering and frankly distracting in certain scenes, and often sounds like he’s just trying to do his own version of a Blanchard score. Some pieces of the score aren’t half bad, but usually feel a bit too melodramatic for my taste. The music that plays during the aforementioned subway sequence really worked for me though, and is easily the best part of the score. We do get some good original songs from A$AP Rocky, Aiyana-Lee, and Jensen McRae, and the film kicks off with a great usage of Norm Lewis’s rendition of “O, What A Beautiful Mornin’” from Oklahoma! as we are treated to lovely footage of New York City. The film’s use of music may not be as strong as one would hope considering that its protagonist works in the music industry, but there’s still some good stuff here. 

Of course, the main event here is Denzel Washington, who is as amazing as always. We get his classic movie star persona, but it is the humanity that shines through the cracks that really fascinated me. We truly see his character, David King, at his highest and lowest throughout the film, and Washington plays all of it beautifully. He has that classic confident nature, but there are moments where he wrestles with what he should do where he effortlessly displays some complexities in the character. Washington is easily one of the world’s most compelling actors, and we are with him every step of the way as he navigates through some difficult moral conundrums. He’s one of those actors who’s always good, but something about working with Spike Lee makes him absolutely electric every single time. 

I also loved Jeffrey Wright’s performance as David’s chauffeur and friend, Paul Christopher. It is a bit of a theatrical performance at times, but it is fitting given the film’s operatic tendencies. He is at his best opposite Denzel, as the two are so believable as friends and play off each other well. I was very surprised by A$AP Rocky’s performance, as I wasn’t expecting much from him going into this. I really only know of him as a rapper, but he is really good in this film. He has a simmering rage that makes him a little intimidating, and he holds his own against Denzel Washington much better than one would expect. I never knew I needed to see a rap battle between A$AP and Denzel, but I am more than glad the film gave us this, as it is one of the film’s best moments. A$AP is definitely one of the film’s biggest surprises, and I would be curious to see him take on other roles in the future.

I was half-expecting Spike Lee to stay pretty true to the original High and Low in terms of story and tone, but he isn’t as beholden to it as I thought he’d be. The general structure and most of the story beats are pretty close to the original, but Spike definitely makes this film his own. The Kurosawa version has a sadness to it that underlies much of the film, while the Spike Lee version uses this sparingly, instead opting for a livelier energy that keeps the film’s momentum going. Not only this, but Highest 2 Lowest ends on a much brighter note than the original film, offering a hopeful coda that surprised me a little, but feels extremely true to Lee’s sensibilities. He is able to translate High and Low to fit the present day, reimagining certain details in a way that is inventive while also providing his specific brand of social commentary. Not to mention that the film has an air of introspection, as if Spike is considering his career thus far and where he will go from here. This may be a remake in terms of the story being told, but it is first and foremost a Spike Lee joint, and it is all the better for it.

Highest 2 Lowest is a fascinating text, and makes for a great late-career effort from Spike Lee. Those who are averse to his more assertive brand of filmmaking may find it a little too in-your-face, but those who love Lee and his work will undoubtedly find a lot to appreciate here. It is a solid thriller, putting even those familiar with its source material on the edge of their seats and sustaining a strong momentum for much of its runtime. Spike Lee and Denzel Washington truly are one of the best director/actor duos, and this film continues their amazing track record. It may skew a little melodramatic at times and has some questionable music choices, but it is hard not to get swept up in this film. Much like its title suggests, Highest 2 Lowest has some excellent highs and some rough lows, but it still ends up being such a beautiful, gripping film that acts as both a great remake of one of cinema’s most beloved classics and an excellent representation of Spike Lee’s distinct filmmaking style.

Rating: 4/5