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Highest 2 Lowest Reviews
It doesn't try to compete directly with Kurosawa. Spike Lee takes that narrative structure and transforms it into something else entirely. Louder, more excessive, more edgy, and profoundly New York. [Full review in Spanish]
[The] performances and Lee’s vaunted, improvisatory aesthetic keeps the movie crackling even when it threatens to collapse within itself.
There’s enough to recommend in Highest 2 Lowest that it’s worth it for fans of Spike Lee’s previous joints, but after turning in modern hits like BlacKkKlansman and Da 5 Bloods, we know Da Man From Brooklyn is capable of better.
...one of Spike Lee's most stimulating works in recent times, both for the ideas it raises and for its electrifying handling of the genre. [Full review in Spanish]
It reminded me of Ron Howard’s under-rated 1996 Mel Gibson-starrer Ransom, with its flawed protagonist and shifting sympathies, while Washington and Wright bring both gravitas and complexity to their characters and key relationship.
Lee has no interest in portraying the reality of black American economics but misreads the black bourgeoisie in terms of his own partisanship.
Spike Lee’s remake of Kurosawa’s High and Low has that distinct feel of a "late" film, the kind a great director makes on autopilot: pleasant enough, competent enough, but strangely limp.
Highest 2 Lowest has a message that deserves to be told, and there is no better person to do it than Spike Lee.
Get Lee and Washington throwing everything they have into an exploration of what it truly takes to make a mark, the cost and challenges, and the battle for genuine fulfilment along the way, and the result is all highs and no lows.
The more films he makes, the more you see his fetishes for light-skinned Black women, and the stories are not interesting.
With Highest 2 Lowest, the results are uneven, but magical all the same.
There are several fatal flaws hobbling Spike Lee's latest joint Highest 2 Lowest, a film heavily stamped by his signature flourishes but ruined by a tepid, corny screenplay suggesting an erosion of benevolence for those at the top and bottom of the....
There’s one set piece that ranks among the best work Lee has ever done: A sequence where David has to hand off a backpack with the ransom, shot through a lively Puerto Rican neighborhood festival.
Lee imbues the film with a strong emphasis on family and the challenges of moral certainty, which gives Highest 2 Lowest a vitality that even its various weaknesses can’t entirely undercut
Dragged out over two-plus formulaic hours, the film underscores Lee’s vertiginous decline.
Lee has made a quite different movie, marked by elegant allusions rather than debt.
Highest 2 Lowest should be a triumphant victory lap for the most potent actor/director combo since Kurosawa and Mfune. Instead, the kidnapping drama plays out like a phoned-in cash grab.
A slightly dizzy and occasionally brilliant entry from a New York veteran reckoning with his own ascent from the streets of Bed-Stuy to courtside at the Knicks.
Highest 2 Lowest is billed as a crime thriller, but for much of the film, it feels like Lee didn’t quite get the memo. What on the surface should be a taut, tension-filled fight to the finish, reads instead as a languid stroll through a mediocre drama.
Lee’s direction is imbued with what feels like fresh energy. And the always watch-worthy Washington mixes swagger with solemnity with pitch-perfect savvy… Here’s hoping we see these two together again sooner rather than later.