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Unapologetically grand, boldly humorous, and distinctly Black, “Highest 2 Lowest” may draw influence from a Japanese storyteller, yet its essence is undeniably Lee’s own.

Debuting out of competition at Cannes, the initial segment of Lee’s frantic narrative immerses you in tension. The screenplay, penned by William Alan Fox, follows the original structure of Kurosawa’s work, with Washington portraying David King, a wealthy CEO of Stackin’ Hits records, known for his exceptional talent in music production. Although he divested some of his stake in the label years ago, he’s determined to regain full control, even at great financial risk. However, his plans are derailed when kidnappers mistakenly target Kyle (Elijah Wright), the son of his friend and chauffeur, instead of his son Trey (Aubrey Joseph). Facing a crisis, King and his wife Pam (Ilfenesh Hadera) must put everything on the line to save Kyle.

While Lee’s film walks through the foundational beats of Kurosawa’s original, something feels amiss. The pacing drags; the characters seem detached; the lighting lacks vibrancy; the score overwhelms every scene. You might assume Lee would hesitate to imitate the shot-for-shot approach that led to the criticism of his adaptations like “Da Sweet Blood and Jesus” and “Oldboy.” Yet, here, the sluggish beginning seems intentional.

The first half of “Highest 2 Lowest” resembles a vast, endless terrain where Lee and Washington, reuniting after two decades, strive to reclaim their cinematic chemistry. King reminisces about being at the forefront, but like many artists, he finds himself out of sync with the current trends. Living in a lavish penthouse, his walls adorned with historical memorabilia of icons like Joe Louis and Toni Morrison, the cinematographer Matthew Libatique predominantly uses wide shots that capture the overwhelming wealth surrounding him. After a while, the focus on this opulence may cause viewers to lose interest in the characters’ plight.

Though the techniques echo Kurosawa’s influence, they also reveal Lee’s insecurities. How can he remain relevant in today’s cinematic environment? What defines creative success when profits dictate the industry? As King articulates his frustrations about AI, social media followers, and the virality that dominates his world, his sentiments mirror those of Lee himself.

Once the narrative shifts away from King’s stifling abode—similar to Kurosawa’s departure from the rich sprawl—we witness “Highest 2 Lowest” transform from a tribute to Kurosawa into a full-fledged Spike Lee experience. King ventures from his lavish residence back into the streets to pay the ransom to the kidnapper and aspiring rapper Yung Felony (ASAP Rocky). What follows is perhaps one of the most expertly crafted sequences of Lee’s career. Composer Howard Drossin’s previously gentle score escalates into a whirlwind, echoing the train’s motion as King rides, burdened with 17.5 million Swiss Francs. Inside the train, rowdy Yankees fans further enhance the atmosphere, while outside, vibrant local events occur, especially a Puerto Rican festival featuring Rosie Perez and Anthony Ramos. Their lively music seamlessly weaves into Drossin’s energetic score, creating a dynamic juxtaposition of scenes that not only blends the excitement of the crowds with King’s tense journey but also showcases Lee’s mastery in shifting visual styles, oscillating between polished digital tones and a raw aesthetic that resonates with Washington and Lee’s return to their roots.

In its lively second half, “Highest 2 Lowest” experiences several transformations. Lee gradually pulls away from the traditional score, opting for energizing tracks by James Brown to elevate the film’s energy. He increasingly employs close-ups, heightening the intensity without diminishing the film’s visual splendor. Wright, in particular, is given space to shine, embodying the gritty, genuine persona that brings Washington’s King closer to reality. Crucially, King and Christopher’s journey back to their roots becomes a pivotal part of the resolution, underscoring that vital clues arise from revisiting the music of their past. Lee

In “Highest 2 Lowest,” Lee returns to his signature style, showcasing the extravagant flair that establishes him as one of the most distinctive filmmakers of his era.

Each choice Lee makes in this film reflects his collaboration with Washington. Though they have previously worked together on four occasions, those films were made when Washington was younger and still could embody more youthful characters, rather than the action heroes and introspective figures he often portrays now. This marks their first partnership as older individuals. Lee skillfully leverages Washington’s recent life experiences, particularly during an electrifying rap showdown between King and Yung Felony. Throughout the performance, Washington showcases his exceptional timing, making unexpected choices that resonate deeply. Rocky matches him in this confrontation, amplifying the intensity and fueling Washington’s fiery edge.

While many come to “Highest 2 Lowest” anticipating the emotional depth reminiscent of Kurosawa’s classics, Lee is not merely attempting to replicate past greatness. Instead, he uses historical context to pivot toward what could potentially be the culminating segment of his filmmaking journey. Drawing from a diverse array of influences—musical, cinematic, and cultural—he reconnects with an old ally. This is unmistakably a Spike Lee production, and it stands out.

This review was written following the premiere at the Cannes Film Festival, with a release date set for August 22.