Give me your top 10 favorite comedies!
A comedy about fear of commitment, hating your job, falling in love and other pop favorites.
When record store owner Rob Gordon gets dumped by his girlfriend, Laura, because he hasn't changed since they met, he revisits his top five breakups of all time in an attempt to figure out what went wrong. As Rob seeks out his former lovers to find out why they left, he keeps up his efforts to win Laura back.
The Good: Top five reasons why High Fidelity is a great film: 1. John Cusack delivers the best performance of his career. (Yes, better than Say Anything. Better than Being John Malkovich. Better than Thin Red Line. Better than Grosse Pointe Blank. Better than 2012.); 2. Jack Black is actually pretty funny and -- surprise -- not annoying here; 3. One of the finest examples of fourth wall breaking; 4. Excellent screenplay by Cusack, D.V. DeVincentis, Steve Pink, and Scott Rosenberg, based on the novel by Nick Hornby (About a Boy); 5. Fantastic songs, with the highlight being a soulful rendition of Marvin Gaye's 'Let's Get It On' by Sonic Death Monkey/Kathleen Turner Overdrive/Barry Jive and the Uptown Five.
The Bad: Nothing major.
The Bottom Line: The modern-day Annie Hall. You'll be putting this on repeat. Highly recommended.
“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…
I am Rob Gordon.
Rob Gordon is me.
The way he speaks, acts, and thinks is like looking at a mirror.
It's freaky man.
Should I be scared that as cynical as I already am, I'm probably gonna be even more cynical when I'm Rob's age?
Plus, considering this contains the song Hey Joe by Jimi Hendrix (one of my favorite songs) this film was made for me.
It's freaky man.
Stephen Frears's adaptation of Nick Hornby's novel is one of those films you can't help but come back to. It may not be your typical romantic comedy, but it's certainly one of the best. Moving the setting from London to Chicago was no big deal really as Frears stayed pretty faithful to Hornby's source material about a thirty-something record store owner played by John Cusack who starts to question his luck with women after being dumped by his girlfriend.
Featuring an impressive support cast that includes Jack Black (toned down to perfection), Iben Hjejle as Cusack's on-off girlfriend and small cameos from the likes of Catherine Zeta-Jones and Tim Robbins, this has one of the sharpest scripts around with plenty…
What a perfect dramedy, I absolutely loved High Fidelity!
Basicaly this is a story about a man who doesn't know how to grow up. That man is Rob and Rob loves music and owns a record store. No problem with that. He works at what he truly loves but sometimes it seems like he did not even care. He is more obsessed with his list of the "Top 5 Breakups", including the one that just happened. He wants to know why every girl that he had been dating broke up with him.
This film is something original and I love the fact that we have the narration literally in the first person. Rob narrates everything to the camera and you…
“People worry about kids playing with guns, and teenagers watching violent videos; we are scared that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands - literally thousands - of songs about broken hearts and rejection and pain and misery and loss.”
Part of my Adapted Novels Project: adaptation of High Fidelity, written by Nick Hornby (1995). Started reading the book on the twenty-ninth of May, finished it the eighteenth of June and watched the movie on the nineteenth.
TOP FIVE THINGS THE NOVEL DID BETTER THAN THE MOVIE
5. Thoughts: although it tries to make up for it with narration, the film (logically) is not as good as the book in…
u can soooooo tell this was written by a bunch of straight dudes but at least john cusack was cute
Since I last saw this, my personal music obsession has increased enough that I get almost all of (the real) music references and signifiers.
Such a cusp film, before millennials--which, sadly, I guess includes me--ruined culture: ad-hoc, silly, and tart.
Like Nick Hornby, it has enough heart and soul and single white-guy malaise to go around, but can't stop making references long enough to get out of its own way.
You could see how much of this film influenced 500 Days of Summer and other romantic films of similar ilk. I really wanted to like this film, I really did, and indeed it had a lot of quirky charm and John Cusack was quite the 4th-wall breaking narrator with plenty of charisma and enthusiasm.
However, there were some seething facets of the film that irked me in quite noticeable ways. The first one being that I did not quite see whether the film achieved its goals or not (whether that is my fault is another question), but in the end it felt like Cusack's character didn't really learn anything from his experiences or about himself. He was just the same…
"...I agreed that what really matters is what you like, not what you are like... Books, records, films - these things matter. Call me shallow but it's the fuckin' truth, and by this measure I was having one of the best dates of my life."
This review may contain spoilers. I can handle the truth.
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…
"Shut up, Mom!"
Annoying asshole experiences some personal growth but never truly realizes what an insufferable tool he is.
Although still a sentimental favourite, I would probably no longer hold this film up on such a high pedestal as I once did, particularly due to the fact that I'm now able to take the rose-tinted glasses off and see what a misogynistic asshole Rob actually is.
Still, I give it high marks and find it just as rewatchable as ever, endlessly quotable and, to quote Barry, the soundtrack kicks fuckin' ass! John Cusack and Jack Black have never been better, the pace is fast and witty, and there's a cameo from my favourite Boss of a rock star.
It's the rock 'n' roll Annie Hall.
Overweight, loveless, wood paneling, empty parking lots, basements, loners, madness, sadness, isolation, depression, fantasy, eccentric, filth, sleaze...
Charlie Kaufman, Todd…