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It was about time someone put together a film with a genuine appreciation for the love/music connection that didn't end up being something along the lines of "Singles". For music lovers who tend to put a soundtrack to everything they experience, this film is a blessing. I am one of those people, so I understand that if you're not, you'll get less from the movie. All I'm trying to say is that this is one of those films that demand you to root for the characters and the events if you want to enjoy it. The deeper the affection you feel for them, the more you'll enjoy the movie.

Personally, I think John Cusack's character is one of the most engaging in the comedy genre of the last decade. This is the kind of character I like: simple and complex at the same time, just like in real life. Somebody likable but annoying at times. Again, I feel a deep personal connection with him, and I understand him every time, even when he acts stupid.

But he is not alone. The rest of the cast is terrific.

Anyway, don't forget this is a comedy. You will laugh your ass off with some situations and dialogue. Hilarity comes from many different sources: you've got black humor, silly humor, complex (people would say "intelligent", but I despise the term) humor... Special mention goes to Tim Robbins paying a visit to the record store. Genius.

On a very personal level, I think there's a magnificent scene that sums up the heart and the brains of this movie. John Cusack talks to the camera (something that happens often) instructing the audience on how to make a perfect music compilation for your loved one. If you like that concept, the movie will grab you and won't let you go. If that idea doesn't sound seductive to you, you might just have a good time. If you are a rock music devotee, this flick is heaven.

RATING: 9.0

I read the novel when it first came out because the title intrigued me, and I found it quite good. When I heard John Cusack was adapting it and moving the action to Chicago(from London in the novel), I was a little worried, because I worry about changing things during adaptations for arbitrary reasons, but I needn't have worried; though I have a few quibbles, which we'll get to later, Cusack and Co. have done a fine job adapting the novel.

First off, I've read one comment which claims it stereotypes "music geeks." The type of people Hornby, Cusack, his co-writers(D.V. DeVincentis and Steve Pink, who also co-wrote GROSSE POINT BLANK, and Scott Rosenberg), and director Stephen Frears are portraying is a very particular type of "music geek"; the type who is a snob about music. Almost all of us, I would say, are aggressive about our likes and dislikes when it comes to music, but not many, I agree, compare liking Marvin Gaye and Art Garfunkel to "agreeing with both the Israelis and the Palestinians." And probably not many of us would be so cut off from feelings that, when hearing about a person's death, would find no better way of expressing their sorrow than listing their top 5 songs about death. Yet we do like these people as characters because we see even if they have some snotty attitudes, they do have a genuine love for their music, and they're in a low-paying job because they love what they do. And who among us hasn't turned to music when we've felt sad(or happy), like Rob does, or wished that Bruce Springsteen(and a pox on the person who, in their comments, implied he was passe. Bruce will NEVER be passe) would talk to us directly like he talks to us through his music? The novel and the movie captures all of that.

Another strength, of course, is Cusack's performance. Woody Allen once said that while American actors were very good at playing virile men of action, there weren't many who could play more "normal," regular people. Cusack, on the other hand, has carved out a niche for himself playing regular guys. He doesn't look like The Boy Next Door, and he's neither stereotypically sensitive or hip, but comes across as a guy who feels both at ease and yet still longs for something more. At his best, like in movies such as THE SURE THING, SAY ANYTHING, THE GRIFTERS, BULLETS OVER BROADWAY, GROSSE POINT BLANK, and this, he plays people on the cusp of growing up, who are able to if they want to, but aren't sure if they want to, and yet he's made each of them different. Rob's condition may be a little more conventional - he's not sure if he wants to settle down yet - but Cusack, while unafraid to show his unlikable qualities, makes us like Rob anyway.

The rest of the cast is also quite good. The well-known names only get short takes(Lisa Bonet, Joan Cusack, Tim Robbins, Lili Taylor, Catherine Zeta-Jones), but they make the most of their time. I've never seen Iben Hjejle before(I haven't seen MIFUNE), but she does well as the most grown-up person in the movie. But the real stars, besides Cusack and the music, are Jack Black and Todd Louiso as Rob's co-workers. Black especially reminds me of people I knew.

As I said, I do have some quibbles. There are a couple of incidents in the book which don't make it to the film which I would have liked to see(the Sid James Experience, and the lady who wanted to sell Rob a ton of valuable records for a ridiculously low price). I'm getting tired of movies which use rain as an expression of sorrow, and this is an example of overuse. And the character of Laura isn't developed as well in the movie as she was in the novel. Nevertheless, this is well worth checking out.

HIGH FIDELITY (2000) **** John Cusack, Iben Hjejle, Jack Black, Todd Louiso, Lisa Bonet, Catherine Zeta-Jones (unbilled), Lili Taylor, Joan Cusack, Shannon Stillo, Tim Robbins, Joelle Carter, Natasha Gregson Wagner.

John Cusack is my favorite contemporary actor for many reasons, which due to time and space will not permit me to go into lavish detail, but it's basically down to a simple formula for me, that he continues to full tilt in his latest variation of the good hearted, somewhat sarcastic anti-hero with a heart of gold: Fearless Fragile Funny.

Based on the cult best selling international novel by Great Britain's Nick Hornby the story is transplanted from modern day London to modern day Chicago focusing all its angst and comic philosophies in its character, Rob Gordon (Cusack in one of his finest performances, who also co-wrote and produced the film),

the owner of a vintage LP album shop, `Championship Vinyl', who is having a pre-mid-life crisis in his life: namely his latest girlfriend, Laura (the fetching Danish actress Hjejle in her first American role), a lawyer, has just dumped him and the fact that he may have to grow up or come to terms with his existence of being a den mother to his yin and yang clerks, Barry (Black, riotous) and Dick (Louiso, best known as the au pair from `Jerry Maguire', is pitch perfect in his humorous approach), the former a loudmouth know it all and the latter a soft-spoken lover of all music, both the book ends to Rob's equally passionate take on pop music and how it has somehow manifested itself to his being ; the end all to end all.

`What came first.the misery or the music?' Rob asks at the very beginning of the film and it is here that Rob decides to investigate just how he is at fault to the 5 all time greatest break ups in his love life a la The Top 5s he and his co-horts in crime habitually categorize all things pertinent to music. What follows is a laugh-filled introspection of the heart on its sleeve and its tongue sharply in cheek as to Rob's quest of finding all his faults and foibles in hope of wooing back his recent romantic dismissal that includes 5 prototypes of all heterosexual men: The First Kiss/Crush; The Adolescent Urgency/Loss of Virginity, The Woman Out of His League; The Rebound Best Friend/Possible Soul Mate and finally, The One True Love He Isn't Even Aware Of.

The approach may seem old hat and gimmicky (Cusack breaking the fourth wall and speaking directly into the camera) yet it isn't intrusive but enlightening into what the hero is really thinking and more importantly why. Surrounded by a truly winning cast, Cusack shines once again as a likable average guy who is trying to remain a guy although the inner voice of Be A Man is palpable and reverberating inside. His nonchalant, casual way of speaking and his slow burns are priceless (he finally takes out his frustrations on Laura's new beau, the unctious sensitive pony-tailed Ian played by Cusack's best bud and former co-star of `The Sure Thing' and the cult classic `Tapeheads', Robbins, in the film's funniest fantasy sequence of Rob, Barry and Dick pummeling Ian to death). Cusack's constant streak of the smart alecky good guy continues from the quintessential portrait of Lloyd Dobler, kickboxing student of the affairs of the heart in the classic `Say Anything.' and the previous purveyor of romantic comedy, Walter `Gib' Gibson in the update of `It Happened One Night', `The Sure Thing' to his hit-man Martin Blank pondering his high school reunion with dread in the black comedy `Grosse Pointe Blank' (reunited here with his screenwriters/partners in crime D.V. De Vincentis, Steve Pink and Scott Rosenberg).

The women portraying Rob's Girlfriends of Christmas Past , so to speak, are exemplery especially Taylor (another Cusack repertoire player, who played his best gal pal/voice of reason in `Anything.') as Sarah the rebound fling and Zeta-Jones as Charlie (showing some nice moments of sublime sardonicism), the sexy babe completely out of his element). Bonet has a few nice moments as local singer Marie De Salle who provides some unsubtle ways of bringing Rob to his senses. Sister Joan provides some comic bile as well as mutual friend to Laura and Rob. But frankly it's a guy's flick and thanks to the boisterous Black (late of HBO's comedy series `Tenacious D' and a score of films as diverse as `Mars Attacks!' and last year's co-starring with Cusack in `Cradle Will Rock') and geeky, quiet Louiso adding some color especially in their scenes together debating their varied choices of musical tastes.

Directed by Stephen Frears, a fellow Englishman who appears to know the American arcana striking a responsive chord (he put Cusack through the paces in the neo-noir classic `The Grifters' a decade ago) allows his characters time to pace themselves from one setup to the next and skillfully keeps the smart patter gleaned from the book alive on screen.

Easily one of the year's funniest films and finally a film I whole heartedly recommend in what seemed to be dearth of mediocrity thus far in the new millennium. To paraphrase the emergence of Bruce Springsteen (who has a funny cameo) into rock's pantheon I will allude this to comedy: I have seen the future and it is John Cusack. Rock On!

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.

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