Not so much a remake as a remix. Spike Lee takes Kurosawa’s High and Low and updates the kit without junking the engine. The bones are the same—a ransom crisis that ricochets from penthouse to pavement—but Highest 2 Lowest swaps cigarette smoke for smartphone glow and gives the material a nervy, modern snap. It’s surprisingly playful too; the film has more bounce than you’d expect from a morality tale.
Denzel Washington is terrific—controlled, prickly, and, when pushed out of his comfort zone, unexpectedly raw. You can feel Lee nudging him toward edges he hasn’t visited in years, and together they make the familiar beats feel newly charged. This isn’t Spike doing Kurosawa; this is Spike being Spike: sharp staging, bold colour, punchy cuts, and a city that feels like a character with a siren for a heartbeat.
It’s not immaculate. The opening hour ambles when it should tighten, but the back half locks in and sings. Lee even opts for a more hopeful curtain than Kurosawa’s cool ambiguity, which will irk purists but suits this version’s pulse. Imperfect, lively, and distinctly his, Highest 2 Lowest honours the original while talking in today’s accent.