Despite how often I’m skeptical of them, I will still maintain I’m not against remakes. But how enthusiastic I am for them depends on a few factors. Has it been more than a couple of decades since the original film was released? Does the director respect or even love the original? Can a remake bring the same story and themes of the original to the table while adding its own unique perspective? If a remake can check all of these marks, then I’m completely down for it, and occasionally, am willing to concede when a remake surpasses the original.
Upon just seeing the trailer, I can tell that Highest 2 Lowest, director Spike Lee’s reimagining of Akira Kurosawa’s 1963 film High and Low, definitely checks off every criteria I have for what I want in a remake. Reflecting much of the same plot beast as the original, this film centers around self made music mogul David King (Denzel Washington) gearing up to buy back the majority shares of his production label as he feels the business he started has become more commercial and less about the music. Unfortunately, those plans are put to a halt when he receives a phone call that his son has been kidnapped, and being ransomed for 17.5 million dollars for his safe return. King was more than willing to give the money for his own son, but when he learns that the kidnapper mistakenly took the son of his close friend and chauffeur Paul Christopher (Jefferey Wright), King must decide if he’s willing to give up that much money for the son of his employee.
As I’ve said, this is exactly what I want in a remake. Kurosawa’s film tackled class, morality, and the ugly compromises of capitalism in postwar Japan. Lee keeps those ideas intact but filters them through the lens of a self-made Black music mogul. The themes hit hard in today’s climate: who holds the power, who pays the price, and how money and morality rarely walk hand in hand.
On a technical level, the film is gorgeous. Lee can’t resist showing off his signature style — unusual camera angles, long, patient establishing shots, and that glorious, grainy texture you only get from shooting on real film (even expired reels, which give certain moments a dreamy, ghostly vibe). It feels classic and modern all at once, which is very much Lee’s wheelhouse.
The performances are, unsurprisingly, electric. Denzel Washington commands the screen as King, his moral struggle simmering under quiet authority, while Jeffrey Wright’s Christopher brings understated depth and vulnerability. Really, exactly what you’d expect from two of the best actors living today. But the surprising acting revelation is A$AP Rocky as Yung Felon, the film’s antagonist. His unraveling in the final act is raw and magnetic, the kind of performance that lingers long after the credits.
That said, the movie isn’t flawless. Since music is a core theme, you’d think every sound choice would hit perfectly, but that’s not quite the case. While the rap and singing sequences are on point, Lee drops in jaunty piano cues during tense chase scenes, and it’s…weird. Like, instead of gripping the edge of your seat, you’re suddenly in a 1950s caper. It’s clearly a stylistic nod, but it undercuts the tension instead of heightening it. Some of Lee’s editing choices also left me scratching my head: certain transitions feel more awkward than clever, and extended background moments (like the Puerto Rican parade sequence) drag the pace down. Even the final music-video-style faceoff between King and Felon is a love-it-or-hate-it move. I’m still not sure which side I land on.
Despite its significant bumps, Highest 2 Lowest was still a worthy remake. It takes a story about wealth, integrity, and morality and makes it hit in a whole new way for a whole new audience. I will even say it’s far more worthy of an offering than Lee’s thematically tone-deaf remake of Old Boy. Whether you’ve seen Kurosawa’s original or not, Spike Lee delivers a film that’s bold, beautiful, and worth a few rewatches to fully appreciate the details he lovingly includes.
