Hellen I like the storyline of this show,it attract me so much

Solidrariol Am I Missing Something?

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

garthlotel This film is worth watching for Jack Black alone. But it's also a refreshingly real, funny and honest look at the modern man and relationships.

SimonJack "High Fidelity" may have some comedy, but in its raucous setting and turmoil, that gets lost. The fidelity here applies to faithfulness in relationships as well as the quality of music. The plot of Rob Gordon's five worst breakups (John Cussack) left me flat. Nor do I find much entertainment in these films in which the star or someone else talks to the camera between bits. It seems an easy and cheap way for writers to switch gears without having to challenge their brains for clever writing and creativity.I suppose some of a young generation who would know some of the music in this film might enjoy it. But, I have no proclivity toward the music. I watched this movie because I wanted to see how John Cussack's comedy was around 2000. This is quite empty. Jack Black is way overboard with his Barry Judd character. But, he's often overboard. Here he's just too loud and crass. The film rightly has an R rating. I can enjoy or appreciate R films if they have character and substance. But this film has neither. So, its profanity, cavalier portrayal of sex and abortion, and listless lives aren't entertaining. Even though a large number of viewers have rated this film, I suspect its appeal has been to a specific group of people. I don't think it will resonate with much of the population 20 or 30 years later, or beyond.The best humor is in the ironic title. Rob's character has been of such low or no fidelity in the past. Now he's jealous and hurt, so the tables turn.

sharky_55 Rob Gordon is stuck in middle-age purgatory, constantly flitting from relationship to relationship when asked to take an step forward and grow. Like Woody Allen's characters in his great romantic comedies, who couldn't help from making a joke of all but the gravest of situations, he segments and designates his life by his love of music. He and his two friends share this talent of musical elitism and snobbery; they spend all day berating the poor taste of their customers, they immediately try to define any real life scenario with the best song to fit, and then every now and again they even sell a record. But Stephen Frears isn't just playing the bad guy; Rob's passion for music, however snobbish, is authentic, and Frears finds a way to elicit not only humour out of it, but eventually good. They want to broaden the tastes of the wider public, and Cusack is so confident in his love for The Beta Band and their ability to turn heads and ears. When two youthful thieves run off with a bunch of records, they furiously give chase, before the confrontation turns into a hilarious argument about the poor taste of their stolen records. Frears plays this straight, making it funnier, but also seeding the roots of Rob's passion and eventual discovery of the pair's talent. Naturally, he wants to help foster and let others hear it too. Cusack is the perfect choice. He is a product of his early career, the teen movies, and he brings this experience and baggage into his portrayal of Rob. Much of the exposition has him talking and facing the camera, narrating his own story, as if he was one of those directors or writers who make themselves the main and best character. So the frames close in on his story, the backgrounds vanish, and Cusack motions and pours out his life story for the audience. His voice-over is angry, volatile, unable to consider any perspective other than his own, and has self-depreciating quality that swiftly sheds himself of any blame. Perplexed, he beings a journey of diving back into his past to discover exactly the reason for his failed relationships. When he meets an ex who is similarly despondent, he recognises the same signs of "sad, single person culture", but has no empathy. He is too high and mighty for that. The best scenes of the film come from his back and forth with his most recent ex-girlfriend Laura, who has finally had enough and packed the bags. This is where Rob is at his most self-righteous, most unaware. The messy breakup process is very clearly painful for her to, but Rob is only concerned with himself, so he sabotages each encounter with her with crass, unimportant queries. He feels entitled to have a say in the negotiation of this period, so he assaults her with a barrage of requests and phone-calls, and because she is much nicer and more mature than him, she plays along. Rob seems to have picked out the score for the film himself; when it seems certain that they will not get back together, it croons with Velvet Underground. And in a moment which completely illustrates his lack of sensitivity and maturity, he jumps for joy to Queen's We Are the Champions, just because Laura has not yet consummated her next relationship. Very funny, and very sad indeed. But of course they do eventually, and Rob, whose short-sightedness prevented him from seeing so, descends back into the mopey, 'the whole world is against me routine'. He calls her in the night, soaking in the rain and holding back tears, blubbering and trying to win her back. This act is so perfectly reminiscent of Cusack's iconic moment in Say Anything, holding the stereo aloft all night. The connection works because Cusack is no longer a teenager, but still held ransom by these teenage swings of emotion, so heart-wrenching he can barely function. What prevents High Fidelity from being a great film is how it momentarily slips up into soppy, conventional romantic comedy territory. Much of the film is ruthless in its dissection of Rob's faults, but it all falls into place like a typical romance does when he and Laura get back together. Laura is barely a character here; she simply flops over for him, conveniently sweeping Ian aside to reward an undeserving Rob with sex. It so clearly feels like one of his 'cool' fantasies that I was begging for the scene to rewind. Instead the film acts like a broken record, skipping ahead of the implied complications to that sweet-toothed ending. It isn't a bad ending; there is nothing wrong with expecting Rob to pick up the pieces of his life and finally move forward in his relationship. But it does seem like a bit of a let off.

estebangonzalez10 "Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?"Stephen Frear's High Fidelity breaks the fourth wall from the very opening scene as Rob Gordon (John Cusack) begins sharing with us about his top 5 breakups right at the time his girlfriend, Laura (Iben Hjejle), is moving out of his apartment and leaving him. It is evident he is hurt, but he brushes it off by saying she doesn't even rank in his list of the most hurtful breakups. That is when he begins listing who each one of them were while we get flashbacks of those memories intertwined with the present in which we are introduced to his job, friends, and his passion for music. Rob is a vintage record store owner and his two employees, Dick (Todd Louiso) and Barry (Jack Black), are as much music snobs as he is, and they too enjoy making lists of their favorite things usually involving music. The more we get to know Rob, we realize that he isn't the typical romantic character we'd find in a film like this. He is deeply flawed, he has cheated on his girlfriend, he doesn't seem to be going anywhere with his life, and he is afraid of commitment. Somehow he always believes to be the victim in the break-ups, but from what he says we know that he has never been boyfriend of the year material. It is hard to root for a character like Rob, but John Cusack delivers such a charismatic and engaging performance that we accept his flaws and want him to get over the heartbreak. Along the way he realizes that Laura really belongs on the list and decides to revisit some of his past flames to discover what he has been doing wrong. Frears has directed some great films (The Queen, Philomena), along with not so good ones that feel like direct to TV movies, but High Fidelity belongs in his top list of best films. It is a romantic comedy that has an entertaining script, some great performances, and of course a wonderful soundtrack. The screenplay was adapted from Nick Horny's book but instead of setting the story in London they bring it to Chicago and it absolutely works. Jack Black and Todd Louiso give strong supporting performances and you believe they actually are these snobs who are living music encyclopedias. They complement Cusack's performance and deliver most of the comedic moments. As for John Cusack I believe this is one of his best performances although I still need to see a couple more of his films to solidify that claim. The romance in High Fidelity is also incredibly believable and relatable which is hard to come across by in most rom-coms. Neither Cusack nor Hjejle are portrayed as these perfect role models in a relationship, they are both flawed characters who have made some poor decisions.Even though my music knowledge is very limited, I was able to relate to these characters because of their shared passion. I may not have that same passion for music, but I do for movies or sports so I understood where these characters were coming from and believed the culture this film created surrounding music. The screenwriters knew what they were writing about and each one of the actors delivered, and that is what has made High Fidelity such a cult favorite for many teens. It manages to be smart and funny at the same time. It is also one of the best examples of a film successfully being able to break the fourth wall and including the audience in the genius of the movie and its charm. http://estebueno10.blogspot.com/