100
Chicago Tribune by Michael Wilmington
Superb crime thriller. [07 Sep 1998, p.1N]
High and Low (天国と地獄)
Critic Rating
(read reviews)User Rating
- Japan
- 1963
- · 142m
Director
Akira Kurosawa
Cast
Toshirō Mifune,
Tatsuya Nakadai,
Kyōko Kagawa,
Tatsuya Mihashi,
Isao Kimura,
Kenjirō Ishiyama
Genre
Crime,
Drama,
Mystery,
Thriller
In this crime thriller, a wealthy executive already struggling to keep control of his company finds himself the victim of an extortion plot after his chauffeur’s son is kidnapped and held for ransom. He is forced to choose between paying to save the child or keeping control of his company.
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What are critics saying?
100
The A.V. Club by Scott Tobias
Miraculously, High And Low turns the mundane follow-through of police work into the stuff of white-knuckle suspense.
100
The New York Times by A.O. Scott
A sizzling, artistic crackerjack and a model of its genre, pegged on a harassed man's moral decision, laced with firm characterizations and tingling detail and finally attaining an incredibly colorful crescendo of microscopic police sleuthing.
100
San Francisco Chronicle by G. Allen Johnson
It is possibly Kurosawa's most underrated masterpiece, rich in characterization and structure, yet lost in the shuffle among such classics as "Rashomon" and "Seven Samurai." [14 Sep 2008, p.N31]
90
Paste Magazine by Oktay Ege Kozak
The most tension-filled ransom exchange sequence ever filmed works perfectly as the midpoint break between the two halves, which eventually begin to converge as a potent study on the psychological effects of income inequality disguised as a straight genre piece.
90
The Dissolve by Mike D'Angelo
Few movies have ever been as subtly, methodically composed as High And Low, in which every shot reflects, to some degree, the dichotomy presented by its title.
90
The Observer (UK) by Philip French
As well as being a skilfully developed thriller and a study in moral dilemma, High and Low is a precise and devastating anatomy of postwar Japanese society. [31 Jan 1999, p.11]
90
Chicago Reader by Jonathan Rosenbaum
I would nominate this authoritative 1962 adaptation of Ed McBain’s novel The King’s Ransom as Akira Kurosawa’s best nonperiod picture, though Ikiru and Rhapsody in August are tough competitors.
88
Slant Magazine by Glenn Heath Jr.
High and Low is a masterful cinematic elevator connecting two warring social perspectives, finding a common ground between them in the pressurized corners of the classic crime drama.
88
LarsenOnFilm by Josh Larsen
Intricate blocking keeps these early scenes visually engaging, but there’s no doubt High and Low takes off once the exec agrees to pay and we’re treated to an elaborate money-drop sequence, with the kidnapper staying one step ahead of the police.
83
The A.V. Club by Keith Phipps
While not a masterpiece on par with Kurosawa's best work, High And Low is a fine example of his craft, and further proof that it's not a few masterpieces but the overall scope of a career that defines a great director.
80
Los Angeles Times by Kevin Thomas
Structurally, High and Low, which is remarkable in many ways--the camera work alone could serve as a primer in film technique--is quite a departure for Kurosawa.
80
Washington Post by Paul Attanasio
It's not one of his masterpieces, but High and Low fully illustrates why Kurosawa is regarded as Japan's foremost director.
80
Empire by David Parkinson
This lesser known Kurosawa feature is worth a look, with outstanding performances and stunning cinematography.
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