Highest 2 Lowest review: Denzel Washington starrer's first half mirrors Kurosawa's original

The recently resurgent Spike Lee (“BlacKkKlansman,” “American Utopia,” and “Da 5 Bloods,”) comes up with yet another exceptional cinematic work with ‘Highest 2 Lowest,’ in which he banks on his favorite star Denzel Washington and the luminous Akira Kurosawa for inspiration. This film is a reinterpretation of the classic Akira Kurosawa’s 1963 Japanese film High and Low, which itself was loosely based on the 1959 novel “King’s Ransom.”

“Highest 2 Lowest” is a faithful adaptation of Kurosawa’s “High and Low,” up to half-way point. William Alan Fox’s script dutifully follows the same beats as Kurosawa’s classic but the tempo seems off.  Washington plays David King, the millionaire CEO of Stackin’ Hits records, a record producer renowned for his uncanny ear for music. He is now angling to buy back control after having sold off some of his stake in his label years ago. Kidnappers attempting to apprehend his son Trey (Aubrey Joseph), also mistakenly kidnap Kyle (Elijah Wright), the son of his friend and chauffeur Paul Christopher (Jeffrey Wright), forcing King and his wife Pam (Ilfenesh Hadera) to risk everything to save them. David, Pam, and Paul speak to the police detectives assigned to the case (Dean Winters, John Douglas Thompson, LaChanze), each giving their descriptions of the boys and the last time they’ve seen them before the abduction.   

Initially the pacing feels laborious, the characters appear off focus, the lighting and framing seem inelegant and ungainly and the score makes itself known through every scene. It feels like a tedious procedural, until it turns over and becomes something else entirely. It begins on an off note and suddenly brings on beautiful harmony, exploding into a profuseness of stunning visual alchemy. This film is an attention-grabbing version of the acclaimed crime thriller, with Denzel Washington magnetically strutting his stuff.

King used to be with the times, but now feels out of sorts in the industry he once commandeered. He is surrounded by relics of the past. In fact, he himself feels like a relic. He constantly gripes about AI, follower counts, and virality. Once King descends from his kingdom(penthouse) and steps into the hurly-burly of the city to pay the ransom to the kidnapper/aspiring rapper Yung Felony (ASAP Rocky), the scenes begin to gain new vigor and complexion. Yung Felony, who idealised David, has staged this kidnapping as an act of revenge for his not being given the time of day.

King carries a black bag full of 17.5 million Swiss Francs strapped to his back, riding a train en route to the kidnapper. The train is heading straight for Yankee Stadium, with rowdy fans yelling “F_ _k Boston.” The elaborate attempt at extortion also involves a Puerto Rican music festival with real-life cameos involving Eddie Palmieri, Anthony Ramos, and Rosie Perez.  

Composer Howard Drossin’s score swiftly picks up ferociousness and volume, and the experience of it becomes more energizing. As the train moves, we see several events pass by. The music drums up tempo and pace while King navigates through the train. Towards the end, King finds his groove again. The music tells us so as the score dramatically changes, and James Brown's music blasts towards the end. Yung Felony’s song that plays frequently is an anthem that encapsulates the entire experience.

Washington’s rapping ability is up there with the best, and his performance in this film is supremely commanding. He does not miss a beat throughout. Wright and Washington also built up great chemistry together.

Cinematographer Matthew Libatique’s camera becomes more observant and focused as the movie changes complexion. The second half gets more riotous by design.

Lee’s “Highest 2 Lowest” is an unstinting, capricious and musically inspired crime thriller that feels quite special.