It’s been nineteen years. Nineteen. That is a lifetime in Hollywood years. The last time Denzel Washington and Spike Lee shared a set, we were still carrying flip phones and watching Inside Man on DVD. Now, they've finally circled back for their fifth "joint," a gritty, New York-drenched thriller called Highest 2 Lowest.
You've probably seen the headlines. Some critics are calling it a "swan song" for the duo. Others are just happy to see two masters back in the sandbox together. But honestly? This isn't just another remake. It’s a total reinterpretation of Akira Kurosawa’s 1963 masterpiece High and Low. And if you think you know how this story ends because you saw the black-and-white original, you’re kinda wrong.
Why Highest 2 Lowest is the Denzel Washington Spike Lee Movie We Needed
The premise hits you fast. Denzel plays David King, a music mogul who’s basically the king of New York. He’s got the "best ears in the business," but he’s also broke. Well, "mogul broke"—meaning he’s leveraged everything he owns to buy back his record label, Stackin' Hits. He’s one signature away from total control. Then the phone rings.
A kidnapper wants $17.5 million. At first, David thinks they have his son, Trey. But they don't. In a brutal twist of fate, the kidnapper snatched Kyle, the son of David’s driver and lifelong friend, Paul (played by the always-incredible Jeffrey Wright).
The kidnapper doesn't care. He still wants the money.
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This is where the movie gets under your skin. David has to choose: pay the ransom and lose his company, or keep the money and let his friend's son die. It’s a moral meat grinder. Spike Lee doesn’t just show us the tension; he makes us sit in it. He uses these long, wide shots of David's penthouse that make the luxury look like a prison.
The Cast That No One Saw Coming
Spike has always been great at mixing legends with newcomers. But this lineup? It's wild.
- Denzel Washington: He’s 71 now, but the man still has that "it" factor. He plays David King with a mix of weary exhaustion and sharp-edged desperation.
- Jeffrey Wright: As Paul, the driver. He isn't the meek chauffeur from the Kurosawa version. He’s pugnacious. He’s an ex-con. He doesn't beg; he demands.
- A$AP Rocky: This was the biggest surprise. He plays "Yung Felon," the kidnapper. Spike mentioned in interviews that Rocky looks enough like Denzel to be his son, which adds a whole other layer of father-son tension to their face-offs.
- Ice Spice: Yes, the Bronx rapper. She makes her film debut here.
People were skeptical about the rappers. "Can they actually act?" Honestly, Rocky holds his own. There’s a scene where he and Denzel go toe-to-toe, and the energy is electric. It’s not about acting "big"; it’s about that quiet, simmering anger.
A New York City That Actually Feels Real
If you’ve lived in New York, you know how most movies get it wrong. They show the Empire State Building and a few yellow cabs and call it a day. Not Spike. Highest 2 Lowest feels like a love letter—and a hate mail—to the five boroughs.
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The movie moves from the glass towers of Dumbo to the sweaty, loud streets of the Bronx during the Puerto Rican Day Parade. There’s an incredible set-piece on the 4 train. David has to drop the money off a moving subway car while hundreds of people are dancing to Eddie Palmieri’s orchestra below. It’s chaotic. It’s colorful. It’s 100% Spike Lee.
But there’s a darker side, too. The film touches on the "anthropology of class," as some critics put it. You see the gap between the people who own the Basquiat paintings and the people who are just trying to get a demo heard. It’s about more than just a kidnapping. It’s about who gets to be heard in a city that’s constantly trying to drown you out.
The Elephant in the Room: The Box Office
Let’s be real for a second. The movie didn’t do great at the box office when it first dropped in August 2025. It made about $1.5 million in its first two weeks. People were shocked. "Is the Spike-Denzel magic gone?"
Not exactly.
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The film was always destined for Apple TV+. The theatrical run was limited, and the marketing was... let's say, quiet. But a funny thing happened. Once it hit streaming in September, it exploded. Everyone was talking about that ending. Then, A24 announced a theatrical re-release in December 2025, and suddenly it was the "must-see" event of the winter.
How to Get the Most Out of Your Rewatch
If you’re planning to watch (or re-watch) this Denzel Washington Spike Lee movie, here’s how to actually appreciate what they’re doing:
- Watch the 1963 Kurosawa original first. It’s called High and Low. Seeing how Spike flips the script—especially the relationship between the boss and the driver—makes the new version way more interesting.
- Listen to the score. Howard Drossin did the music, and it’s a trip. It goes from melancholy piano to this aggressive, thumping rap. The music isn't just background noise; it’s a character.
- Pay attention to the "AI" mentions. Denzel’s character David King has a whole monologue about how AI is ruining the "soul" of music. It feels very personal, like Spike is talking through him.
- Look for the cameos. Rick Fox shows up as a basketball coach. There are little nods to Spike’s older movies everywhere.
Actionable Steps for Cinema Lovers
If you want to dive deeper into this collaboration, start by revisiting their "Big Four" before watching the new one. Start with Malcolm X for the weight, then Mo' Better Blues for the vibe. Follow that with He Got Game for the heart, and Inside Man for the pure thrills.
Once you’ve done that, watch Highest 2 Lowest on Apple TV+ or catch a revival screening if you’re near a major city. Pay close attention to the final confrontation between David and Yung Felon. It’s not just a hero-vs-villain moment; it’s a debate between two generations of Black artists.
Don't just watch it for the plot. Watch it for the craft. In an era of green screens and recycled superhero plots, seeing two legends just make a movie on the streets of New York is a rare thing. Whether it’s their final collaboration or just another chapter, it’s a piece of cinema history that demands a second look.