‘Highest 2 Lowest' Review: Denzel Washington Finds A Great Role And A$AP Rocky Finds A New Career In Spike Lee's Entertaining Kidnap Drama
Yet again a filmmaker has gone to the throne of Japanese giant Akira Kurosawa for inspiration. Among the lauded director's films Hollywood has turned into English-language adaptations are Seven Samurai, which became The Magnificent Seven twice (including once with Denzel Washington); Rashomon, which became Paul Newman's The Outrage; Ikiru, remade a few years ago as Living; Yojimbo, which led to an uncredited inspiration for A Fistful of Dollars; and 1958's Hidden Fortress, unquestionably an inspiration for George Lucas and Star Wars.
Now chalk up another one with Spike Lee's new take on Kurosawa's 1963 drama High and Low, in which Toshiro Mifune played a shoemaker executive who is torn between paying the ransom to his chauffeur's son's kidnapper after the criminal nabbed him by mistake instead of the executive's son, who was safe. It becomes a moral dilemma, especially as the exec really needs the money himself to save his business. What would you do, it asks?
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And that is exactly the setup for Lee's thrilling and entertaining new drama Highest 2 Lowest, which has been reset to the contemporary music industry with Washington as David King aka 'King David,' a hugely successful music mogul who finds his Stackin' Hits Records is about to be taken over and now has plans to start a new label and return to the top of the charts. When his son Trey (Aubrey Joseph) and godson Kyle (Elijah Wright in a film debut) and son of his best friend and driver Paul (Jeffrey Wright) are mistaken for each other by the inept kidnapper, that criminal demands David pay the $17.5 million ransom anyway or Kyle dies. Again, what would you do?
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The riveting answer to what David will do is played out in this tense cat-and-mouse game. Should he refuse, he is told social media will just destroy him anyway for the heartless act of turning his back on his friend Paul and his son who are definitely living on a wildly different class level than the Kings do. But David is torn. He is convinced that a return to the top of the heap is imminent and all he needs is the money. Why give it up for someone else's child?
His wife Pam (IIfenesh Hadera) is distraught at first, thinking the guy had their son, but now has definite ideas of her own about how to proceed. There's also a trio of NYPD detectives on the case (Dean Winters, LaChanze, John Douglas Thompson). The tension mounts as they try to lure the kidnapper, who slyly barks his demands and tries to one-up David in some phone encounters. Will they be able to trace the calls? Can they find him? Who is he?
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Well, it turns out to be a guy whose life's dream was to be discovered by King David and handed a contract for Stackin' Hits as the next great rapper. His name in Yung Felon, and he is played in a sensational supporting turn by A$AP Rocky, whose romantic partner Marisol (Isis 'Ice Spice' Gaston) might hold the key to finding him.
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The first film shot in Lee's native NYC in more than a decade is one of his best. It has been in various forms of development over 30 years for the likes of David Mamet, Chris Rock and others, and now Washington helped get Lee on board with it for a new take from screenwriter Alan Fox, who adapts material from Ed McBain's book King's Ransom and the original Kurosawa movie. The premise fits like a glove with the music industry, and Washington is smooth as silk, delivering one of his best recent performances as a man caught in an impossible moral quandary. With his fifth collaboration with Lee (Malcolm X, He Got Game, Inside Man, Mo Better Blues), he really finds his groove on this one to be sure.
His initial showdown in the recording studio through the music producer's glass window as Yung Felon is putting down a track is worth the price of admission, with Washington turning the encounter into a bravura rap that becomes one of the actor's finest screen moments. A$AP Rocky, who was seen in the film Monsters, proves he can go toe-to-toe with Washington and shows he has dramatic chops to shine here. Wright as always is superb, as is Hadera.
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As is the case with most Lee joints, this one has a superb, soaring musical score from Howard Drossin that really feels NYC to its core. Matthew Libatique's sharp cinematography also shows off New York City to its full potential here.
The film had its world premiere Monday night Out of Competition at the Cannes Film Festival, where Lee debuted his masterpiece Do the Right Thing 36 years ago today.
Producers are Todd Black and Jason Michael Berman.
Title: Highest 2 LowestFestival: Cannes (Out of Competition)Distributors: A24 Films and Apple Original FilmsRelease date: August 22, 2025Director: Spike LeeScreenwriter: Alan FoxCast: Denzel Washington, Jeffrey Wright, IIfenesh Hadera, Aubrey Joseph, A$AP Rocky, Dean Winters, La Chanze, John Douglas Thompson, Isis 'Ice Spice' Gaston, Michael Potts, Rick Fox, Elijah WrightRating: RRunning time: 2 hr 14 min
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UPI
4 hours ago
- UPI
Jon Bernthal to play Punisher again in next 'Spider-Man' adventure
Jon Bernthal is set to reprise his iconic role of the Punisher in the next "Spider-Man" movie. File Photo by Jim Ruymen/UPI | License Photo June 21 (UPI) -- Jon Bernthal has signed on to play the Punisher again in the next Spider-Man movie. Variety, Deadline and The Hollywood Reporter reported the casting news Friday. The film is set to go into production this summer. Bernthal has played the Marvel comic-book vigilante Frank Castle/the Punisher in his own eponymous TV show, as well as the related shows Daredevil and Daredevil: Born Again. In addition to appearing in Spider-Man: Brand New Day opposite Tom Holland as the titular web-slinger, Bernthal will also play the Punisher in an as-yet-untitled special on Disney+ Both projects are set for release in 2026. Bernthal was also recently seen in The Accountant 2 and The Amateur.


Los Angeles Times
5 hours ago
- Los Angeles Times
Why this author wrote about creative women as they aged: ‘They made much of less'
In this week's newsletter, we have a chat with Susan Gubar, whose new book, 'Grand Finales: The Creative Longevity of Women Artists,' profiles seven creators who found a second wind in their advancing years. We also look at recent releases reviewed in The Times. And a local bookseller tells us what's selling right now. Seventeen years ago, Susan Gubar was handed a death sentence. A distinguished professor emerita of English and women's studies at Indiana University and the co-author (with Sandra M. Gilbert) of 1979's 'The Madwoman in the Attic,' a groundbreaking work of feminist literary theory, Gubar in 2008 was staring down a terminal cancer diagnosis. A clinical trial involving an experimental drug prolonged her life and gave her the impetus to tackle a new project about seven artists — George Eliot, Colette, Georgia O'Keeffe, Isak Dinesen, Marianne Moore, Louise Bourgeois, Mary Lou Williams, Gwendolyn Brooks and Katherine Dunham — who entered a new phase of creative ferment and productivity as they grew older. I talked to Gubar about her new book, the myth of old age and the persistent stereotypes attached to female artists who may be perceived as having outlived their usefulness as creators. (Please note: The Times may earn a commission through links to whose fees support independent bookstores.) Can you talk about how the book came about? In 2008, I was told that I had 3-5 years to live with late-stage ovarian cancer. The standard treatment was ineffectual. But then in 2012, my oncologist encouraged me to enroll in a clinical trial that was experimenting with a new drug. After nine years in the trial, she then urged me to take 'a drug holiday' since long-term use of the medication could cause leukemia. I am still on that holiday. An unanticipated old age made me appreciate the wonderful gifts longevity can bestow. In researching your subjects, what do they all share in common? All of my subjects are artists who experienced the losses of aging. They needed canes and wheelchairs and helpers while they suffered the pains of various diseases and regimens. One coped with blindness, another with deafness and still others with the loss of intimates. Yet in the face of such deficits, they used their art to exhibit their audacity, mojo, chutzpah, bravado. They're exemplars of Geezer Machismo. All of your subjects are women, who have a much tougher time in terms of earning respect and attention as they age. Can you speak to the obstacles they had to overcome as they reinvented themselves as artists in their advanced years? The stereotypical old lady is invisible or risible, but we know that many elderly women thrive. My old ladies did not approach their life stories as prime-and-decline narratives. Instead they reinvented themselves. In part, they managed to do this by changing their objectives as artists. They moved from the stage to the page or from elite to popular forms. Some of them underwent religious or political conversions that energized their last years. They fully understood the losses of old age, but they did not settle for less. Instead, they made much of less. What's interesting about these artists is that — contrary, I must admit, to what I thought would have been the case — these women were supported by men who became their benefactors, and helped them to negotiate their careers. Quite a few of the women that I write about were helped by much younger men in their lives, who became facilitators. This is true for George Eliot, Colette, Georgia O'Keeffe, Louise Bourgeoise, Mary Lou Williams and others. Williams, the great jazz pianist, was helped by a Jesuit named Father O'Brien, who helped her get control of her copyrights. Georgia O'Keeffe, in contrast, has been championed by photographer Alfred Stieglitz, but she had to leave him in her midlife to establish her autonomy late in life. He was very controlling, even though he definitely established her reputation. She was aided in her later years by a man young enough to be her grandson. You are an octogenarian, and writing a book isn't easy, as you know. Where do you find the inspiration and the strength to keep going as a creator? What keeps me going is what kept my subjects flourishing in their seventies, eighties or nineties. Any sort of creative activity involves expression, which is a great antidote to depression. It may take the form of sculpting, painting, playing an instrument, teaching a dance routine, making a quilt or a garden, establishing a park or a prize, you name it. Without my two current writing projects, I'd be lost. Even (or maybe especially) in our dismal political climate, ongoing creative projects make each day an adventure. Heather Scott Partington reviews 'Fox,' Joyce Carol Oates' mystery novel about a murdered pedophile. 'Fox has the bones of a potboiler but is supported by the sinew of the author's elegant structure and syntax,' writes Partington . Leigh Haber weighs in on Jess Walter's book 'So Far Gone,' calling the author a 'slyly adept social critic [who has] clearly invested his protagonist with all of the outrage and heartbreak he himself feels about the dark course our world has taken.' Daniel Felsenthal thinks Geoff Dyer's memoir 'Homework' is somewhat meandering, yet 'bursts with working-class pride, a fond and mournful belief in the possibility of the British welfare state.' And Paula L. Woods talked to five mystery writers about the inspirations for their new books. This week, we're talking about hot books with Nat Eastman, the manager of Chevalier's Books on Larchmont Boulevard in Hollywood, the oldest independent bookstore in Los Angeles. What books are selling in the store right now? We've been moving Percival Everett's 'James' and Ocean Vuong's 'The Emperor of Gladness' hand over fist. Thanks to BookTok, Asako Yuzuki's 'Butter' has become a mainstay on our bestseller list. We also had the honor of hosting Bryan Byrdlong for a reading from his debut poetry collection 'Strange Flowers,' and we've been handselling it right and left ever since. What are your perennial sellers? Kaya Doi's series of picture books, 'Chirri and Chirra,' is a smash hit around here. Joan Didion and bell hooks are reliable customer favorites as well. As an indie shop, though, we love the deeper cuts too — whether that's 'Água Viva,' literally any Yoko Ogawa work or something from our zine collection. Are you seeing more young people buying books? Despite all the reports about declining literacy rates among young folk, our children's section makes up a quarter of our sales. We really try to carve out a space for the next generation of readers with programs like storytime, a middle-grade book club and summer-reading punch cards. To us, messy shelves are annoying everywhere except the kids' section!


Los Angeles Times
6 hours ago
- Los Angeles Times
The perfect summer corn fritter to welcome you back to downtown L.A. restaurants
Returning to downtown L.A. restaurants after the curfew. The spirituality of red Fanta. 'The most exciting place to eat in the South Bay in recent memory.' And a Crunchwrap Supreme plot twist. I'm Laurie Ochoa, general manager of L.A. Times Food, with this week's Tasting Notes. I was happily eating a light lunch of poached chicken with an array of radishes, tarragon mayonnaise and buttered milk bread toast dusted with sea salt when our friendly and attentive waiter, just four days on the job, walked up holding a plate of sunshine: three beautifully fried corn fritters with flash-fried basil, a wedge of lime and a mound of salt for dipping. There was a dish of chile sauce too, but the corn's sweetness, salt and herbs were all I needed on the day before the official start of summer. I was at chef Giles Clark's Cafe 2001 with the editor of L.A. Times Food, Daniel Hernandez, and every table in the place was filled. The cafe's big brother restaurant, Yess, from chef Junya Yamasaki, was boarded up at the front entrance facing 7th Street — the dinner-only spot closed during the recent downtown L.A. curfew — but we saw activity in the kitchen when we peeked through the glass blocks on the side of the restaurant and were hopeful that Yess would reopen that night. As columnist Jenn Harris wrote this week, the seven-night curfew left downtown L.A. streets empty: 'All along 2nd Street, the windows and doors were hidden behind plywood. ... The frequently bustling Japanese Village Plaza, where shoppers dine at a revolving sushi bar and stop for cheese-filled corn dogs, was desolate.' Now there are tentative signs of recovery. 'Hours after the curfew was lifted Tuesday, downtown started to show signs of coming to life again,' Harris wrote. 'Just before 7 p.m., a line began to form at Daikokuya in Little Tokyo ... known as much for the perpetual wait as it is for its steaming bowls of tonkotsu ramen. It was a hopeful sight.' Yet, as Harris also reported, Kato, the three-time No. 1 restaurant on the L.A. Times 101 list, whose chef, Jon Yao, was named the best chef in California at this week's James Beard Awards, 'was still looking at a 70% drop in reservations for the upcoming week' after the curfew's end. 'The direct impact of the media's portrayal of DTLA being unsafe, which it is not, has impacted Kato,' Ryan Bailey, a partner in the restaurant told Harris. Certainly downtown is frequently portrayed, 'as a sometimes dodgy place to live and work.' But 'despite myriad challenges,' reported real estate specialist Roger Vincent this week, 'downtown L.A. is staging a comeback. ... Occupancy in downtown apartments has remained about 90% for more than a year ... slightly higher than the level before the pandemic. ... In fact, the downtown population has more than tripled since 2000, reflecting a dynamic shift in the city center's character toward a 24-hour lifestyle.' On Tuesday night, I met reporter Stephanie Breijo at Hama Sushi, another Little Tokyo spot where the wait is usually lengthy, and was able to get a spot at the sushi bar by arriving before 6 p.m. The place quickly filled up behind us. Though some were at Hama to support downtown, many came to pay their respects to the memory of recently deceased owner Tsutomu Iyama. Breijo will be reporting on the life and legacy of Iyama in the coming days, but on Tuesday night the longtime staff was on top of its game, serving affordable but excellent sushi, without gimmicks as Iyama intended. Two days later I was at Cafe 2001, which has become one of my favorite — and most useful — restaurants in the city, open all day and into the evening on weekends. In our recent brunch guide, I wrote about Clark's red-wine-poached egg, my partner, John, swears by Clark's caponata, and deputy food editor Betty Hallock loves 'his versions of a quintessential yoshoku icon, the Japanese potato salad ... [sometimes] kabocha pumpkin and puntarelle with blood orange and fermented chiles [or] a verdant pea and potato salad with lemon-y pea tendrils.' But my current favorite Clark dish? Those light and crisp corn fritters. They were the perfect welcome back downtown gift after a tense week of closed restaurants. 'I've ... had customers come in and tell me, 'The American dream doesn't exist anymore.'' That's Evelin Gomez, a juice bar worker at the Carson location of Vallarta Supermarket, speaking with reporter Lauren Ng. Ng checked social media accounts and conducted interviews with people in grocery stores and restaurants founded by immigrants and the children of immigrants about what they are witnessing with the recent Immigration and Customs Enforcement (ICE) enforcement actions in Southern California. The independent-minded Casa Vega owner Christy Vega, who supported Rick Caruso over Karen Bass for mayor in the most recent election, 'has been an outspoken critic of ICE,' Ng wrote. 'I protested in honor of my Mexican immigrant father, Rafael Evaristo Vega, and the very people Casa Vega was built on since 1956,' Vega wrote on Instagram of her attendance at a 'No Kings' protest. 'I will always remember my roots and ALWAYS fight for the voiceless immigrant community.' Some restaurateurs, as Stephanie Breijo reported, have been coordinating grocery handouts and deliveries for those fearing being swept up in ICE raids. 'We understand the feelings that are happening in our community right now, even if we are legal,' said Xochitl Flores-Marcial, a partner in Boyle Heights' X'tiosu with its chef-founders, Felipe and Ignacio Santiago. 'Even if we have documents, that doesn't exempt us from the danger that so many people are facing right now and in our culture.' Meanwhile, assistant food editor Danielle Dorsey, put together a guide to 15 different food fundraisers and events to support those affected by ICE actions. Many are happening this weekend. The young and ambitious staff at Vin Folk — with two alums of Aitor Zabala's Somni leading the team of chef-servers — charmed columnist Jenn Harris during her visits to the Hermosa Beach restaurant created by chefs Kevin de los Santos and Katya Shastova. 'The dining room crackles with the hopeful, earnest energy of a start-up company, ripe with possibility,' she writes in her restaurant review published this week. 'And with food that has all the technique and precision of a tasting menu restaurant with less of the fuss, it is without a doubt the most exciting place to eat in the South Bay in recent memory.' Some of the dishes she highlights: a savory tart that could be 'a love child of mussels in escabeche and pot pie'; headcheese toast, 'a loose interpretation of the patty melt at Langer's Deli'; pritto, 'a take on Taiwanese popcorn chicken'; 'exceptionally tender' beef tongue, 'an homage to Shastova's childhood in rural southern Russia,' and a risotto-style interpretation of Singapore chili crab. Vin Folk is also nurturing a new generation of chefs and restaurateurs: 'Staff are trained in multiple positions, both in and out of the kitchen,' Harris writes. 'Everyone helps with prep, then De los Santos and Shastova [place] members in positions where they may be strongest.' 'We are teaching them,' Shastova tells Harris. 'You go through everything because we believe it's important to learn every single detail of the restaurant if you want to have your own one day.' In her latest Grocery Goblin dispatch, correspondent Vanessa Anderson examines why strawberry red Fanta — 'known as Fanta nam daeng, or 'Fanta red water'' — is seen in so many Thai shrines or spirit houses, many of which are set up at local grocery stores and restaurants. 'Much like those on this earthly plane, the way to a spirit's heart is through his or her stomach,' Anderson reports. 'In the past when we would do offerings to ghosts, it would be an offering of blood,' Pip Paganelli at Thai dessert shop Banh Kanom Thai, tells Anderson, who concludes that 'the bubbly strawberry nectar has since replaced animal sacrifice.' Paganelli, Anderson adds, also posits that red Fanta's 'sickly sweetness ... is beloved by ghosts because of just that. Most spirits have a sweet tooth.' The anniversary none of our social media feeds or TV news anchors will let us forget this week is the release 50 years ago of Steven Spielberg's 'eating machine' blockbuster 'Jaws.' But columnist Gustavo Arellano has another anniversary on this mind this week — the debut 20 years ago of Taco Bell's Crunchwrap Supreme. 'The item has become essential for American consumers who like their Mexican food cheap and gimmicky,' he wrote this week, 'which is to say, basically everyone (birria ramen, anybody?)' The plot twist is that Arellano, author of 'Taco USA: How Mexican Food Conquered America,' had never actually eaten a Crunchwrap Supreme until this month. And when he finally did try it? Let's just say it lacked the crunch he was looking for. I'll let you read his column to find out why he prefers the bean-and-cheese burritos and Del Taco. Bonus: Arellano references Jenn Harris' 2015 story and recipe for a homemade Taco Bell Crunchwrap Supreme, to be enjoyed in the comfort of your home, without the 'bad playlists, scratchy paper napkins and fluorescent lighting' of a fast food restaurant. I think hers would have the crunch Arellano seeks.