Haute fidélité

Rob Gordon (John Cusack), a record store owner and compulsive list maker, recounts his top five breakups, including the one in progress.

Top five things that are great about this movie: Five, Tim Robbins' hair. Four, Jack Black. Three, Stiff Little Fingers. Two, John Cusack giving the best performance of his career, or at least since "Say Anything". One, the conversation about "Evil Dead II" and the word "yet". Honorable mention, Lisa Bonet not being completely annoying and almost actually likable.

Roger Ebert gave the film four out of four stars and wrote, "Watching High Fidelity, I had the feeling I could walk out of the theater and meet the same people on the street — and want to, which is an even higher compliment".

And High Fidelity shows that this is more true for Rob Gordon (John Cusack) than most people. Rob owns Championship Vinyl, a record store where he and his two employees, Dick (Todd Louiso) and Barry (Jack Black), argue about music and insult customers. This is the background for a fantastic movie early in the year and one of the funniest movies I've seen in a while.

The movie's main plot is Rob recounting his past breakups via his favorite organizing device, the Top 5 List. He purposely excludes his most recent girlfriend, Laura, from it. He is trying to deal with her leaving him for a strange, world music-listening, martial arts-doing freak named Ian (Tim Robbins). Then he decides to look up all his old girlfriends, and in the process finds out a lot about himself.

The best scenes, however, are those in the record store - Todd Louiso and especially the utterly hilarious Jack Black steal every scene they're in. They argue over music incessantly, and anyone who knows a good deal about music will be laughing hysterically during these scenes. Dick is a quiet music geek in the classic sense of the word, while Barry is a cruel, ridiculous elitist.

In the end, High Fidelity is a wonderful, terribly funny movie with a lot of great stuff in it. See it.

Having read the very good Nick Hornby novel of the same name I looked forward to "High Fidelity" quite a bit, but I never expected it to be as good as it is. This is easily one of the best comedies of all time for its laughs alone - but what separates it from other comedies (particularly new-age ones) is that it's a very poignant multi-layered tale that focuses, primarily, on males - and why we are as we are. Love, life, relationships, music, movies, hobbies, jobs, ticks, ups, downs - everything is here.

It's to John Cusack's credit that he took a "classic" contemporary novel set in London and transposed it to Chicago - and it works just as well (if not better) than the British version. It shows what a universal story this actually is, if so many people from all over the world can appreciate it, no matter where it is set. What we lose here are the abbreviations such as "mate," "cos" and other British expressions - but essentially the story is exactly the same, as is the character of Rob Gordon.

Cusack proves his worth here and there isn't a single bad performance in this film, except perhaps for the love interest who tries to sport an American accent and it's quite uneven at times.

Jack Black is fantastically funny and reveals once again why he's leagues ahead of other obese comedians like Chris Farley who merely relied on OTT acts and weight for laughs - Black, like John Candy, actually acts and so far in his career has turned out some really good films which is more than can be said for many of his competitors.

The script has some very funny one-liners and movie/music in-jokes (I love the "Evil Dead" bit - "Because it's so funny, and violent, it's got a kick-a$$ soundtrack...and it's so violent!").

But at the end of the day what really haunted me (so to speak) about this movie long after I had seen it was the fact that it DOES stay with you ages after the credits have stopped rolling. It's poignant and really spot-on in many regards - add that to a film full of flawless performances and great direction and clever ideas and one-liners and jokes, and you've got a top-notch comedic masterpiece that places "High Fidelity" in the top ranks of American (and British!) comedy - "with," as the DVD back cover says, "a bullet." Highly recommended. 5/5

John Cusack is the star, and one of the screenwriters and co-producers, of this likeable adaptation of the Nick Hornby novel. At its core, it capably tells a good romantic story, and does a very amusing job at poking fun at people who lord their supposedly superior musical knowledge (and tastes) over others. It's got an attractive and endearing cast, and it naturally also has a non-stop, eclectic soundtrack.

Cusack plays Rob, the neurotic owner of a record store that is far from prosperous. His employees are the timid Dick (Todd Louiso) and the far more brash Barry (Jack Black, who walks away with the film). After his longtime girlfriend Laura (charming Danish actress Iben Hjejle) dumps him for another man, it forces him to take stock and reflect on the major relationships - and break-ups - of his life.

Cusack is typically engaging, although this viewer could have done without that over-used device of having the main character directly address the camera. The film itself, despite being a little overlong, has some good laughs. I cracked up when Rob fantasized possible reactions to the annoying Ian (an amusing Tim Robbins), including a scenario of him, Barry, and Dick beating the almighty hell out of him.

Some intelligent and pointed dialogue is brought to life by this talented cast, with a steady parade of lovely ladies (Lisa Bonet, Catherine Zeta-Jones, Lili Taylor, Joelle Carter) as the women who have caught Robs' eyes over the years. Rob himself is not too sympathetic for much of the running time, but then, that is the whole point as it takes a while to pinpoint himself as a common denominator, and have his eventual epiphany.

Nice cameo by rock star Bruce Springsteen, too.

Seven out of 10.

John Cusack's character in 'High Fidelity (2000)' is an absolute jerk. He's a self-obsessed, gatekeeping musical elitist who doesn't care about anyone other than himself and frequently throws temper tantrums when he experiences consequences for his own bad behaviour, which he typically contorts to be the fault of anyone other than himself. He frequently launches into misogynistic tirades against women and their perceived cruelty, actively blaming them for all the problems he himself creates. Plus, his ultimate arc is learning to treat his partner as an actual person (wow, how brave). An unlikable protagonist doesn't automatically make a bad movie, though. The flick is generally rather interesting when it gets going. The hero's hypocritical and otherwise unhealthy behaviour is oddly compelling to see, his descent into self-destruction providing something not often seen in a film's leading man. His actions are an example of what not to do in his situation. However, it does also mean that we're more likely to root for his continued suffering than any sort of catharsis, even though it could be argued that he - like pretty much everyone else - should be afforded a second chance in the end (despite most of his behaviour actively harming almost all of the women in his life). He's often insufferable, to be honest, and that does keep you at an arm's length for most of the runtime. Still, the flick is typically entertaining enough for what it is. Some of its stylistic elements don't quite work, but it's generally a competent and confident affair. The film often breaks the fourth-wall in a fairly banal way, simply using the technique to replace disembodied narration, and yet this element is sometimes strangely satisfying. The overall experience is a bit too long and, even, slightly repetitive, but it's decent enough. It would probably have been better if its protagonist was flawed but not (nearly) irredeemably so, as is the case here. Regardless of this, though, the flick is fairly fun. It isn't great, but it's good enough. 6/10.