Rating: 
Summary: Romantic Hijinks, Musical Theorem (4.5 stars)
Review: Nick Hornsby cracks his knuckles and flexes his literary muscle of myriad expertise on classic rock with Jon Cusack serving as interpreter in this wry adaptation of a thirty-something slummer who works in a vinyl shop on a street corner in bustling Chicago (a minor amendment from the original London locale in the novel). He and fellow companions and employees Dick and Barry wax musical theorem while relentlessly bullying each other intermittently about life's mundane grievances, the primary woe being the deteriorating relationship between Rob Gordon (Cusack) and his live-in girlfriend Laura. Upon the painful incident of Laura packing her bags, Rob reexamines his past relationships and revisits each erstwhile acquaintance to translate the mystery of why he is always destined to be discarded. Along his quixotic jaunt for explanation to his romantic blunders, his own faults begin to surface and he makes the daring transition to compromise, eventually winning his lovelorn Laura and her worldly possessions back to his lower-class bungalow and newly autobiographical assorted LPs. Cusack is a veteran at these brands of characters, and if I didn't know that Stephen Frears (Dangerous Liaisons, The Grifters) directed this movie, I would be led to believe it is the "Jerry Maguire" alumnus Cameron Crowe that is responsible for the critical acclaim of this film. So many faces from Crowe's "Say Anything" appear in this movie that it makes it that much more deceiving besides the fact that Jon is reprising one of those familiar sardonic slacker roles and the comical content of the film. However, Crowe would never attempt the first-person narrative style that Frears puts to use here, Cusack making direct eye contact with the camera and addressing his audience with endless rhetoric and emotional outbursts. What with this amusing directorial method and the string of existing monologues, this movie could successfully be converted into a stage comedy. The sets are minimal (providing opportunity for easy scene changes) and a great deal of the dialogue is simple human interaction, a character study at best description. I felt an uncontrollable smile cross my face every time Jack Black (Barry) whirled into action with his wired temperament and snide charisma. He is a robust comedic presence in this film, detracting from all other performers every he bursts onto the scene. I particularly enjoyed his cynical tirades and the befitting physical appearance of a stereotypical small-business clerk (scraggly, greasy hair and vintage duds paired with worn jeans and low-top Converse). He is a rabid but skilled scene-stealer in my amateur-but-soon-to-be-professional opinion and I am glad he finally gets his chance to shine, quelling the sideman routine in such films as "Cable Guy", opposite the full-out farce of Jim Carrey and Matthew Broderick. Todd Louiso (Dick) was too perfect as the queerly-calm loner who contains encyclopedic knowledge of every underground musical group ever created. This is not his first acting affiliation with mystifying composition: he played the "child technician" in the yet-again-mentioned film "Jerry Maguire", obssessed with the beauty of "jaaazzz". He is the perfect compliment to the slacker trio and a pure joy to watch. Newcomer Iben Hjejle was a talented and intriguing neophyte as Rob's weepy-eyed lover suffering from a mid-life crisis and nomadic tendencies. Her character was somewhat complex and mistrusting, the male-view quintessence of the enigmatic female species. She conveyed her mental struggle with her situation well and I hope to see her in the future in lucrative projects. Lastly, the many cameos from well-known actors/actresses and close, personal friends of Cusack were amusing and apposite. Lili Taylor was perfect as the clingy, rebound girlfriend Sarah(similar situation in "Say Anything" as the ditched musician) and Catherine Zeta-Jones was sparkling and charismatic as the unearthly Charlie Nickelson, Rob's favorite of his five failed relationships. Joelle Carter was perky and pretty as Penny Harwick, her All-American, Wrigley Spearmint visage reminding me greatly of the overly-elated actress who played Patty Simcox in 1978's "Grease". Tim Robbins was a weird choice as the Zen-infused playboy Ian/Ray but he did a good job portraying an "I-am-cooler-than-an-ice-cube" front. Not a big surprise to again see Cusack's actress-sister Joan playing a close friend. She did the same in "Say Anything" except as his sister (whoa, big surprise there, huh?). As a whole, this movie is intelligent and whimsical, providing much insight into the pathos of relationships and the effort it takes to recognize and hold a valuable one together. I enjoy seeing Cusack play roles like this but I think it's time he broke the barrier and pursued more diverse and more promising projects. Kudos Jon. Just don't wear it thin...
Rating: 
Summary: Hey, what's with the hair???
Review: I mean, is it supposed to signify a time & place? Or just indicate that this is a different John Cusack from the last movie we watched him in? I'm sorry, but I gotta say: IT'S GETTING TO BE A SHTICK, JOHN. Take a rest, try some new routines. I agree with the guy who compared this to Woody Allen, expecially the connection to Annie Hall. Problem is that Woody's a comedian, John ain't. PLUS. Am I supposed to care about his relationship with Laura? WHAT RELATIONSHIP? You want to see a funny movie about a guy obsessed with Laura, watch Chilly Scenes of Winter. None of the relationships in this were anything more than bad clichés. But I read the book & it wasn't any better in that department. Actually what saved me from giving this movie one or two stars were the performances by Jack Black, Joan Cusack & especially Todd Louiso, who is just BRILLIANT! This is the guy who wrote & directed The 15 Minute Hamlet, one of the funniest movies ever made & one of the best productions of Hamlet ever staged. By the way, John Cusack would be a great Hamlet. Don't get me wrong, I think this guy is hugely talented, just wrong for this part. & then there's the problem of the hair...
Rating: 
Summary: Overly long
Review: This movie is really funny if you're into the alternative/underground music scene, as there are plenty of scenes that realistically spoof the general "misunderstood genius" identity. However, it was difficult for me to identify with the main character because of his excessive self-centeredness. This movie is a blend of romantic difficulty and music fandom, and I found the former to be overly drawn out and unrewarding. The latter pretty much saves the movie. I wouldn't watch it more than once, however.
Rating:
Summary: nice background, weak foreground story
Review: Are modern movie romances stuck in a rut? Even the best ones lately - and "High Fidelity" certainly fits into that category - seem to feature characters who find themselves mired in a kind of fashionable self-centered angst that has simply become too predictable and familiar to sustain much audience interest anymore. Infidelity, the fear of commitment, the never-ending struggle to find the perfect balance between sex and love - certainly these issues exist in exelsis in real relationships and these movies merely reflect that reality. Yet, how many times can one watch films built around these themes without eventually becoming as inured and jaded as the lost-souled characters who comprise their worlds? Could it be that - after years of carbon copy retreads - the romantic film genre has simply played itself out? For my money, the modern romantic comedy reached its apotheosis way back in 1977 with Woody Allen's landmark masterpiece, "Annie Hall," undoubtedly the funniest and most keenly observant study of a modern day relationship. Since that time, virtually every movie romance has borrowed heavily from that earlier film's style, theme and substance. "High Fidelity" is no exception. In this film, John Cusack delivers a high-energy performance as Rob Gordon, a 30-something Chicago record shop owner whose life seems to have come to a standstill. Not only does he work in an environment guaranteed to keep him mired in the past - his shop sells vinyl records rather than CD's - but his most recent girlfriend has decided to walk out on him because of what she perceives to be his lack of ambition to move ahead in life. Confronted with yet another failed relationship, Rob decides to go back and contact several earlier partners and discover why it is that he always seems to be left out in the cold. "High Fidelity" is at its most amusing and likeable when it concentrates on the milieu of the vinyl record shop and the minions who haunt it, and less interesting when it focuses on the romantic travails of its main character. Jack Black steals the film with his hilarious portrayal of Barry, a cocky music snob who would rather insult a customer whose taste he finds objectionable than make a profit by selling the said offender the execrable product for which he is asking. Screenwriters D. V. DeVincentis, Steve Pink, John Cusack and Scott Rosenberg astutely zero in on this strange esoteric world where a person's innate value as a human being is determined by the kind of music he or she happens to like. The scenarists and director Stephen Frears demonstrate a truly genuine affection for these socially backward losers who have convinced themselves that they alone hold the key to determining musical greatness and - by extension - the meaning of life itself. It is when the focus in "High Fidelity" moves from background to foreground that the film loses much of its uniqueness and passion. Rob's romantic obsessions simply mirror those of far too many characters in recent similar romantic comedies. How many more self-absorbed, whining, commitment-phobic romantic leads can we handle? But "High Fidelity" borrows not merely its themes, but much of its style from "Annie Hall" as well. Like Allen's character in that film, Rob often turns directly to the camera and addresses the audience with running commentary monologues that are never quite as witty or profound as the filmmakers undoubtedly intend them to be. In another example of stylistic cribbing, Frears also occasionally interrupts the realistic flow of the action by intercutting fantasy sequences, one of which involves a guest appearance by none other than Bruce Springsteen himself (shades of Marshall McLuhan's cameo turn in "Annie Hall"). Frears has assembled a youthful, attractive cast for the occasion including Lisa Bonet, Sara Gilbert, Lili Taylor and Natasha Gregson Wagner. The fact that some of these performers have had very little screen time accorded them in the film obviously implies that they may have signed onto the project as a labor of love. The same could probably be said for Joan Cusack, but really must she and her brother co-star in EVERY movie together? I'm certainly not opposed to sibling devotion - but isn't it time they cut themselves loose from this rather strange tie that binds them? Like so many films, "High Fidelity" tends to concentrate on its majors when its minors are so much more interesting. It is certainly a likeable enough film - but only when Jack Black is up-front and center stage does it ever really soar into comic delirium.
Rating: 
Summary: High Five for Cusack
Review: I adored the book by Nick Hornby from which they adapted this movie. It was one of my "all time top five books". Those of you who have read it, or have seen this movie, will "get" the joke I just made. John Cusack, in my opinion, is not underrated, by the way--he just chooses to do his own thing. Always. And in this movie, he comes through, as always. With his sister, the hysterically funny Joan, backing him up, once again. What we have here is a film that is able to stand on its own without the viewer reading the book first, however. It IS slightly darker in style, I think, but the humor that leavened this tale of a hopelessly lost man groping for some sort of anchor in life through his endless reinvestigation of his past, in women and music, still stands as a classic symbol of the type of male who cannot commit to much, and therefore cannot find much happiness in life. Whenever a woman dumps Rob, he rearranges his vast record collection. Sometimes it will be alphabetical, sometimes it will be genres of music, and once, astoundingly, he manages to rearrange his collection autobiographically...eg: what he was listening to at different points in different time periods. hahaha. This is a typical example from the movie of how absurd this "lost soul" is. John Cusack, standing in the rain, looking like a lost dog... wanting an old lover. John Cusack, directly facing the screen, making remarks to us, the viewers, with more energy and insight than he would seem to be capable of, about how he REALLY feels. John Cusack...John Cusack carrying this movie with some strong and amusing backing from the other members of the cast. You must LOVE the losers who work in his store. I insist. They are perfectly portrayed nerds, and yet even they leave him in the dust, ultimately, and find their places in life. As a woman? I have certainly known guys like "Rob". Guys who seem more interested in music, or in loves that eventually dwindle because of no paticular reason. But as a person, watching this, I certainly held no malice toward Rob. He hurts only himself as he wends his way through his past and stops short of getting on with growing up. Sort of a funny and sweet feeling to this movie. Very little bitterness. A poignant movie, well directed, well acted. A loving look ultimately at those guys you gotta love but who can't give you much back except, in Rob's case, a really great tape mix of your affair when it's over. See it for yourself and you will understand the mix of humor and pain that is at the bottom of this gentle obsevation on "guyness". best, Jean
Rating:
Summary: Good touching movie about life
Review: I was unsure about this movie and decided to rent it before buying on DVD. I was very surprised. The movie was excellent. I like Cussack movies and the story moved along well, even if he acted like a psychotic through most of it. I reccomend this movie to anyone, especially if they are in a relationship. This movie was touching enough that my wife turned to me at the end and said, " Well thats our relationship!" We have been married for 2 years and both understand the feelings conveyed by the characters.
Rating:
Summary: John Cusak is back doing what he know's best. . . .
Review: Which is drama with laughs. High Fidelity is a must see for any John Cusak fan, this movie isn't a carbon copy of the novel it is based on, but Cusak and cast along with good directing and producing, makes this movie shine. It's a spoken word affair, and anyone in the mood for explosive action will want to look elsewhere. But it does offer a complex and interesting view on relationships, and the troubles wherein. Here is the story, in a nutshell. Rob (Jonh Cusak) is in the midst of a breakup, and gives us his top five worst breakup list. . . and then decides to follow up on them, to find out what went wrong with his love life. It is a very honest and heartfelt story, and the cast is supurb. And this being a current DVD release, has a few nice extras included. A surprising addition is the near 20 minute footage on the production and ideas behind this movie, very informative. And the deleted scenes, while none of them were included in the feature, are a very nice addition. If you are a John Cusak fan or love a good relationship flick, what are you waiting for? Go out and buy this movie, right now. It's that good. -Sam
Rating:
Summary: Enjoyable... but does anyone else see the lineage?
Review: I love John Cusack. Despite the sheer number of scenes he ends up playing in which he stands angst-ridden in the rain, I really enjoy his style and choices of script. High Fidelity is no exception, and I love the first-person narration that breaks the frame, connecting directly with the viewer. But tell me - has anyone else noticed how much of a direct and strong parallel can be drawn between High Fidelity and Woody Allen's "Annie Hall?" Let's see... Annie Hall is a first-person, breaking-the-frame, angst-ridden examination of past loves and why they went awry in the context of a current crisis-ridden relationship. And to tell you the truth, I thought Woody did it better and more creatively (I thnik he was one of the first to use a full animated sequence as an integral part of an otherwise live-action dramatic comedy). I don't know who was being derivative on the part of High Fidelity: Nick Hornsby or the producers of the film - I didn't read the book. Don't get me wrong, however. High Fidelity was enjoyable through and through - even the almost dentist-drill annoying Jack Black character had his redeeming moments. It's more of a music-centric update of the Annie Hall concept, with some great acting, a clear love of music and music fanaticism, and a great cameo by Tim Robbins. Certainly this film will appeal more to music lovers (and Woody Allen haters)... but for anyone who just enjoyed the story, I STRONGLY recommend seeing Annie Hall and make the comparison for yourself.
Rating:
Summary: The movie is good (4 stars) but the DVD isn't (2 stars)
Review: High Fidelity: I loved the novel, I liked the movie, but I want a modified version of the DVD. The extras aren't exactly overflowing (deleted scenes, an interview with the star and director) and the way in which the viewer has to access them is ridiculously tedious. I can't understand why they would chop each interview into six parts and make each individual part viewable only by selecting them from menus. You get about four minutes of the interview, then you're kicked back to the menu and have to select the next part in order to continue. And, yeah, I know that sounds like an AV-geek complaining (I *am* this movie's target audience) but c'mon, Touchstone, take a page from New Line Home Video's book. "High Fidelity" deserved the treatment they give to their Platinum Collection. This is a movie that's going to have a serious cult following on video, it should have a couple of commentaries (the director, the cast, perhaps some word from the half-dozen guys that wrote the script), a section about the music, and a documentary or two... maybe a little something about the guy behind the whole thing, author Nick Hornby. Perhaps that will come later... if enough people buy this version of the disk. Having said that, though, I have to say I was pleased to be able to see my favorite scene from the novel, which was deleted from the final cut of the movie but is on the disk -- the scene in which Rob is offered an amazing record collection on the cheap as an act of spite. Good scene, too bad it didn't make it.
Rating:
Summary: One of the best of 2000!
Review: A great film and one of the best for the year 2000. John Cusack does a nice job pulling out some charisma for a is somewhat evil character. Jack Black provides some help also with lots of hilarious moments. With this film and GROSSE POINTE BLANK coming from our friends at New Crime productions, I am very excited for their next film(same group-including Cusack worked on GPB's screenplay). Dvd has some nice extras-interviews with Cusack and Frears plus several deleted scenes(a few of them are very funny). Well worth owning for any Cusack fan.
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