HIGHEST 2 LOWEST Review

When a titan music mogul (Denzel Washington), widely known as having the “best ears in the business”, is targeted with a ransom plot, he is jammed up in a life-or-death moral dilemma. Brothers Denzel Washington and Spike Lee reunite for the 5th in their long working relationship for a reinterpretation of the great filmmaker Akira Kurosawa’s crime thriller High and Low, now played out on the mean streets of modern day New York City.

With this being the fifth collaboration between Oscar winner Denzel Washington (Training Day) and director Spike Lee (Malcolm X), it’s no surprise audiences were excited. These two are arguably the greatest at what they do in film, so any project they’re attached to instantly commands attention. This one is a reinterpretation of Akira Kurosawa’s High and Low (1963), itself based on the novel King’s Ransom by Evan Hunter, published in 1959 under his pen name Ed McBain. It must be a fantastic tale if Spike and Denzel were so eager to retell it, but after watching the film, that remains unclear.

The reason is simple—it never rises above average. Unfortunately, from this duo, Highest 2 Lowest is their weakest collaboration. Spike includes far too much fluff that desperately needed editing. At two hours and thirteen minutes, at least twenty minutes could have been cut. Instead, the film awkwardly shifts from narrative to music video, back to narrative, and even into a concert sequence. Most glaring is a full performance by an up-and-coming artist that feels out of place and unnecessary.

Casting also hurts the film. A$AP Rocky was a misstep; he simply doesn’t hold his own alongside Denzel, especially in scenes that demand passion and energy. The same goes for Ilfenesh Hadera (Oldboy), who plays Denzel’s wife. In moments that required grief and pain, her performance felt flat and unconvincing. At other times, the film strains too hard to create poetic statements, coming off as preachy. Dialogue between characters often feels unrealistic, given the circumstances, making it difficult to take their words seriously.

That said, Denzel is still excellent—even if not at his best. His chemistry with those closest to him is authentic, and the film dedicates a healthy amount of time to fleshing out those relationships. Spike captures these interactions well—whether it’s King David with his son, his wife, or his colleagues. These are the moments where the film shines, bolstered by Spike Lee’s unique directing style and carefully chosen music.

Still, not everything lands. Spike’s signature dolly shot disappoints here, but he redeems himself in how he captures the personality of New York City and its Puerto Rican residents. His direction in these scenes might even inspire you to visit. New York has been shown countless times in film and television, but here it feels alive in a fresh way.

The standouts are tied between Denzel’s performance and the magnificent score by composer Howard Drossin (The Man with the Iron Fists). The music breathes life into the story, often when the script falls short. While the film doesn’t reach its full potential—and likely won’t be remembered—it’s entertaining enough to warrant a viewing. Still, it would have been far more impactful if all the moving parts operated at the same level of experience. That gap in quality is ultimately why this film falls short.