Highest 2 Lowest: there is no facetiousness at play here, but the best thing about Spike Lee’s joint is its end. The film is competent and entertaining enough, but it tries to do too much, and it throws overboard its most interesting aspect, the moral dilemma at its core. It tells the story of a recording mogul who is prepared to do anything when his son is kidnapped, but changes his tune as more information is revealed. Denzel Washington plays the protagonist well, and if he mugs a bit here and there, he still projects the character’s hardships; Jeffrey Wright plays his driver and friend, an ex-con, in quite a touching turn. Director of photography Matthew Libatique shoots New York City with what could almost be described as a male gaze, and moves the camera beautifully around the actors. Editors Barry Alexander Brown and Allyson C. Johnson’s work is dynamic. The use of music is varied, and while one’s reaction to it depends on their taste, the use of R&B tracks is welcome. And, to circle back to the top, the track performed at the final scene, which shares its name with the film, is quite a beautiful song.