--- title: "High Fidelity: the reviews" canonical: "https://film.one/film/high-fidelity/reviews" title_page: "https://film.one/film/high-fidelity" critics_score: 80 critics_reviews: 8 licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # High Fidelity (2000): what the critics said Critics' score 80 from 8 reviews: 8 positive, 0 mixed, 0 negative. The reviews are consistently positive, with praise centred on John Cusack’s ability to make a flawed, insecure man engaging company. Critics find High Fidelity funny and perceptive about relationships, and credit the screenplay with preserving the novel’s tone after the move to Chicago. Stephen Frears’s direction also earns approval, while the music obsession, record-shop banter and supporting performances, particularly Jack Black’s, are repeatedly singled out as reasons the comedy works. The reservations are modest rather than evidence of a substantial split. The Guardian finds some of the direct-to-camera devices uneasy, while Time Out wishes the women had more funny lines; both still find much to enjoy. There is a small difference over accessibility: Variety questions the film’s broad appeal, whereas Empire credits the adaptation with making the story more accessible. The consensus remains favourable, with disagreements about particular choices rather than the film’s success as a romantic comedy. ## The AV Club — Nathan Rabin Fi1m's normalised score 85/100 (inferred from the text). 31 March 2000. The critic praises the film for offering a sensitive and mature exploration of male psyche and relationships through music obsession, calling it one of the smartest and funniest romantic comedies in years. It highlights Cusack's engaging performance and the psychological importance given to music in the story. [Read the review](https://www.avclub.com/high-fidelity-1798192337) ## Variety — Joe Leydon Fi1m's normalised score 85/100 (inferred from the text). 19 March 2000. Festival review. The critic hails the film as a freewheeling comedy-drama with Cusack's fearless lead performance, a witty script faithful to the source, and graceful direction by Frears. It is positioned as the first great date movie of 2000, though noted as potentially limited in broad appeal. [Read the review](https://variety.com/2000/film/reviews/high-fidelity-high-fidelity-turns-up-the-volume-for-romantic-laffer-1200461104/) ## Los Angeles Times — Kenneth Turan Fi1m's normalised score 80/100 (inferred from the text). 31 March 2000. The review calls the film a sharp and satisfying romantic comedy about commitment that gives Cusack one of his best roles. Frears' direction and the knowing screenplay are singled out for making the story work effectively. [Read the review](https://www.latimes.com/archives/la-xpm-2000-mar-31-ca-14405-story.html) ## The Independent — Gilbert Adair Fi1m's normalised score 80/100 (inferred from the text). 22 July 2000. The film succeeds as a buoyant contemporary romantic comedy that avoids irritation, with John Cusack perfectly embodying an everyman figure in the tradition of classic leads like James Stewart. [Read the review](https://www.independent.co.uk/arts-entertainment/films/reviews/when-a-man-loves-a-woman-and-other-classic-singles-710071.html) ## Empire — Ian Freer Fi1m's normalised score 75/100 (inferred from the text). 1 January 2000. Against expectations, the film becomes a funny, smart meditation on relationships that retains the novel's spirit while adding accessibility, with Cusack's likeability carrying the voiceover-heavy style. [Read the review](https://www.empireonline.com/movies/reviews/high-fidelity-review/) ## Evening Standard Fi1m's normalised score 75/100 (inferred from the text). 10 April 2012. Stephen Frears's Chicago-set adaptation turns the story into an anguished but very funny comedy, with strong performances especially from Cusack and the supporting cast including Jack Black. [Read the review](https://www.standard.co.uk/culture/film/high-fidelity-7433770.html) ## The Guardian — Peter Bradshaw Fi1m's normalised score 75/100 (inferred from the text). 21 July 2000. Peter Bradshaw notes the film's upbeat adaptation of the novel to Chicago, praises Cusack's performance and the music love, but finds some direct-to-camera gimmicks uneasy; overall entertaining with refreshing tempo. [Read the review](https://www.theguardian.com/friday_review/story/0,3605,345428,00.html) ## Screen Daily 3 April 2000. The film is a smart, hugely enjoyable entertainment that remains remarkably faithful to the novel despite the Chicago setting. It singles out John Cusack's engaging performance as the flawed record-shop owner for much of its success. [Read the review](https://www.screendaily.com/high-fidelity/401956.article) ## Sight and Sound — Andy Medhurst 1 August 2000. The film is a sweet, sentimental tale that cleverly sells romance to cynical audiences through its knowing double-bluff on clichés. It singles out John Cusack's warm, assured performance as the key to making the story work despite its focus on male insecurity. [Read the review](http://old.bfi.org.uk/sightandsound/review/385) ## The Hollywood Reporter — Marjorie Baumgarten 20 March 2000. Festival review. The critic calls it a smart, funny and youth-savvy relationship film that should appeal to post-college viewers through its take on love, work and music's role in self-definition. It praises the faithful adaptation, strong ensemble cast including Jack Black, authentic Chicago setting and solid direction by Frears. [Read the review](https://www.hollywoodreporter.com/news/general-news/high-fidelity-review-movie-2000-1280282/) ## The New York Times — Stephen Holden Rating NYT Critic’s Pick. 31 March 2000. The critic praises the film as a witty, finely tuned adaptation that relocates the story effectively to Chicago while preserving its essence. Cusack's performance and the screenplay's perspective on the protagonist's emotional arrested development are highlighted as strengths. [Read the review](https://www.nytimes.com/2000/03/31/movies/film-review-the-trivially-hip-a-music-geek-s-warped-love-life.html) ## Time Out — TCh The adaptation stays remarkably true to the book's tone after moving to Chicago, delivering an enjoyable, relatable comedy. It singles out the packed soundtrack and strong supporting turns, especially Jack Black, while wishing the script gave women more funny lines. [Read the review](https://www.timeout.com/movies/high-fidelity) ## Eye for Film — Stephen Carty Fi1m's normalised score 85/100 (inferred from the text). 29 May 2010. The critic calls the film essential viewing for its insightful, true-to-life take on love, relationships, and heartbreak. They single out the perfectly captured record-store banter, list-making, and music obsession (with strong support from the cast, especially Jack Black) plus the soundtrack as highlights. [Read the review](https://www.eyeforfilm.co.uk/review/high-fidelity-film-review-by-stephen-carty) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Our review: https://film.one/film/high-fidelity.md