Reviews provided by RottenTomatoes
High Fidelity easily cracks the top five list of reasons to go to the movies these days.
Los Angeles Times:
High Fidelity is a sharp and satisfying romantic comedy about the difficulty of commitment that utilizes Stephen Frears' incisive direction and some very knowing and sophisticated writing to give actor Cusack one of the best roles of his career.
With his passive presence and nervous eyes, Louiso is quietly hilarious. And Black, whose character is both arrogant and bombastic, is even funnier.
High Fidelity, with its knowing take on men, messed-up romance and music, is like one long, hook-filled pop song for the eyes.
Stephen Frears ... seems on unsteady ground converting an essentially British story (the novel was set in London) to the American idiom.
Cusack works especially well with the unknowns in the cast, while Frears creates an ensemble that complements Cusack's more flamboyant moments.
Something that we can all laugh at -- sometimes raucously, sometimes tenderly, often ruefully.
The insistent verbal nonsense among them wears thin very fast for folks who don't keep their vinyl collection in plastic sleeves. Absolutely, this is a romantic comedy that preaches to the converted.
New York Post:
The quirky High Fidelity really deserves being called the first must-see movie of the century.
New York Observer:
Mr. Frears has managed for the most part to retain the velocity of the narrative without sacrificing the psychological coherence of the characters.
Wall Street Journal:
As for Mr. Cusack, there's nothing potential about his stardom any more. He's the self-doubting, self-flagellating, self-ironic soul of "High Fidelity," and he's great.
A film pragmatic enough to concede that almost every relationship is doomed, but romantic enough to realize that it's worth it to carry on in spite of that fact, High Fidelity is one of the smartest and funniest romantic comedies of the past few years.
If you can put up with all the archness and self-consciousness--there's quite a bit of both--this is an enjoyable romantic comedy.
Louis B. Parks,
[The script] is constantly scathing and comically cynical without ever turning really ugly or bitter.
It's got great music -- and great music trivia -- but a shaky soul.
A cute, quaint, at times rather silly movie that displays a genuine affection for the rebel-nerd scholasticism of record-store junkies.
Globe and Mail:
A funny, perceptive movie about pop music, a man's confused passions for records and women, and the lure of perpetual teenagehood.
Cusack has ineffable charm, but he keeps it tuned at the lowest possible frequency.
Cusack is a master at playing smart, frazzled, self-flagellating hipsters, and the movie, propelled by his arias of angst, lets him strut his best stuff.
When happiness does arrive in this movie, it has the air not of something that you reach, like your top speed, but of something that you give in to, like baldness or old age.
New York Daily News:
There are a lot of wonderful supporting roles here, but the actor who'll get the most mileage is Jack Black in a career-setting turn as an obnoxious slacker.
Stands out as a 'small' motion picture that deserves wide exposure.
There's a lot to enjoy in High Fidelity.
A Woody Allen film for youngish white males who fetishize rock music and its many memorabilia and have commitment problems when flesh-and-blood women.