Highest 2 Lowest

For me, writer/director Spike Lee is at his best when he is paying respects to his hometown.  Many of his films take place in and are a valentine to New York City.  You may have also noticed Spike tackles racism, gender politics, socioeconomic status, tribalism, machismo, and a host of social issues.  He's been outspoken both in his work and in interviews.  But whatever the plotline, whatever societal ill is being addressed, a real love for all that is NYC - good, bad, and ugly - always come across.  His most recent film, 2025's HIGHEST 2 LOWEST, a remake of Akira Kurosawa's classic HIGH and LOW, is no different.

Spike reunites with his frequent leading actor, Denzel Washington for this drama, which recounts the kidnapping storyline of the earlier film.  Denzel is David King, a past his prime music mogul, a longtime ear for talent who tries to regain majority interest in his label, Stackin' Hits Records.  Even if he has to put up his penthouse and art collection as collateral.  Then a mystery caller informs King and his wife Pam (Ilfenesh Hadera) that he requires over seventeen mil in Swiss francs in exchange for the return of their teenage son Trey (Aubrey Joseph).  The kidnapper, we learn, actually mistakenly captured Trey's best bud Kyle (Elijah Wright), son of King's driver and friend Paul (Jeffrey Wright).  Trey is eventually found safe.  The kidnapper still demands the money, the payment of which threatens King's business plans.

David is in a quandary, concerned that he won't recovery the ransom.  We raise eyebrows at why he was willing to take this risk with his own son.  Everyone informs David that if he doesn't pay up, he will be crucified in the press and on Instagram and the like. 

HIGHEST 2 LOWEST is billed as a crime thriller.  This is especially true of the film's second hour, during which a ransom drop off on the subway proceeds.  Amusingly, a carful of New York Yankee fans are on hand, as loud and enthusiastic as ever.  Spike cuts between them and the famous Puerto Rican Day parade, a nice montage of NYC life.  Doesn't feel satiric or condescending.  There will be a subsequent chase involving a detective played by the Allstate mayhem dude, Dean Winters.  The identity of the kidnapper will emerge and the film gets to its main business.  These third act scenes are theatrical and showy...and work.  Spike's indulgences come off this time, suit the themes. 

Strangely, a good deal of this movie plays like an '80s or early '90s television drama.  Even the way it's blocked. Somewhat bland and not helped by Hadera's casual performance.  Also, Howard Drossin's score, which at times sounds like it may also fit better in one of those rom-coms Harrison Ford did back when.  An odd choice, unless Spike is trying to be cheeky? Hard to tell. If so, why with a storyline like this?  

There is much commentary on the old school versus the new.  Art versus commerce.  Selling out.  Legacies.  The corrosiveness of social media. Nothing particularly deep, but potent enough. 

Denzel is golden as always.  His conviction is in every frame.