High Fidelity

• Rob Gordon (John Cusack) is the owner of a semi-failing record store in Chicago where he sells music the old fashioned way - on vinyl. He s a music junkie who spends his days at his store, Championship Vinyl, with his two employees Dick (Todd Louiso) and Barry (Jack Black) creating their all-time favorite top-five lists of songs. Although they have an encyclopedia knowledge of pop music and are co

HIGH ART - DVD MovieSyd (Radha Mitchell) is an editor at a painfully pretentious art magazine; by chance, she becomes acquainted with lesbian photographer Lucy (Ally Sheedy) and her weirdo German girlfriend (Patricia Clarkson, in a strange Dietrich-like role). Syd becomes captivated with Lucy and her work and, smelling a career move, offers to feature her in the next issue of the magazine. The two become attracted, but their relationship is fraught with perils--Syd loses her rather square boyfrie! nd, Lucy's girlfriend takes a hike, the avaricious management at the magazine pressures Syd, and, most importantly, the pair begins to travel down the road of heroin addiction. Besides the lesbian theme, High Art addresses such subtexts as what an artist will (or won't) be willing to do for recognition, and what price that recognition carries. High Art is a remarkably honest work, painful at times but understated and thoughtful. It does an excellent job of portraying the heroin-induced torpor of Lucy and her bohemian friends as they lie around and become consumed with the stuff. It's a cautionary tale, a sincere love story, a reflection on the nature of art, and a "lesbian film" for which the lesbianism is integral but not part of an overriding agenda. Sheedy is excellent, as is Mitchell in a very expressive role. It's far from being a feel-good movie, but High Art undeniably has some power behind it that will stick with you past the closing credi! ts. --Jerry RenshawSyd (Radha Mitchell) is an editor a! t a pain fully pretentious art magazine; by chance, she becomes acquainted with lesbian photographer Lucy (Ally Sheedy) and her weirdo German girlfriend (Patricia Clarkson, in a strange Dietrich-like role). Syd becomes captivated with Lucy and her work and, smelling a career move, offers to feature her in the next issue of the magazine. The two become attracted, but their relationship is fraught with perils--Syd loses her rather square boyfriend, Lucy's girlfriend takes a hike, the avaricious management at the magazine pressures Syd, and, most importantly, the pair begins to travel down the road of heroin addiction. Besides the lesbian theme, High Art addresses such subtexts as what an artist will (or won't) be willing to do for recognition, and what price that recognition carries. High Art is a remarkably honest work, painful at times but understated and thoughtful. It does an excellent job of portraying the heroin-induced torpor of Lucy and her bohemian friends ! as they lie around and become consumed with the stuff. It's a cautionary tale, a sincere love story, a reflection on the nature of art, and a "lesbian film" for which the lesbianism is integral but not part of an overriding agenda. Sheedy is excellent, as is Mitchell in a very expressive role. It's far from being a feel-good movie, but High Art undeniably has some power behind it that will stick with you past the closing credits. --Jerry RenshawSyd (Radha Mitchell) is an editor at a painfully pretentious art magazine; by chance, she becomes acquainted with lesbian photographer Lucy (Ally Sheedy) and her weirdo German girlfriend (Patricia Clarkson, in a strange Dietrich-like role). Syd becomes captivated with Lucy and her work and, smelling a career move, offers to feature her in the next issue of the magazine. The two become attracted, but their relationship is fraught with perils--Syd loses her rather square boyfriend, Lucy's girlfriend takes a hike, t! he avaricious management at the magazine pressures Syd, and, m! ost impo rtantly, the pair begins to travel down the road of heroin addiction. Besides the lesbian theme, High Art addresses such subtexts as what an artist will (or won't) be willing to do for recognition, and what price that recognition carries. High Art is a remarkably honest work, painful at times but understated and thoughtful. It does an excellent job of portraying the heroin-induced torpor of Lucy and her bohemian friends as they lie around and become consumed with the stuff. It's a cautionary tale, a sincere love story, a reflection on the nature of art, and a "lesbian film" for which the lesbianism is integral but not part of an overriding agenda. Sheedy is excellent, as is Mitchell in a very expressive role. It's far from being a feel-good movie, but High Art undeniably has some power behind it that will stick with you past the closing credits. --Jerry RenshawBETTER THAN CHOCOLATE - DVD MovieMany lesbian movies are long on charm and short ! on production values; Better Than Chocolate has a solid dose of both and steamy sex scenes to boot. Our heroine Maggie (Karyn Dwyer), a clerk at a lesbian bookstore, meets footloose butch Kim (Christina Cox) and, after Kim's van is towed away, they move in together. Unfortunately for their romantic bliss, Maggie's mother, Lila (Wendy Crewson), and teenage brother move in that very evening thanks to Lila's impending divorce. But what really complicates matters is that Maggie can't bring herself to come out to her mother; even when she tries, Lila steamrolls through the conversation, like she knows what's coming and doesn't want to hear it. Interwoven with this is the struggle of Judy (Peter Outerbridge), a male-to-female transsexual who's in love with the bookstore's owner, Frances (Ann-Marie MacDonald), who's freaking out because customs officers are holding a list of books at the border that they claim are obscene. The overlapping plots are deftly juggled, the pers! onal and political are compellingly interwoven, and, most sati! sfying o f all, the characters have problems that aren't going to be easily resolved. A handful of candy-colored lip-synching musical numbers give the movie some flash and the sex scenes give the movie some heat, but it's the elements of sorrow and ambiguity that really make the joy in Better Than Chocolate something to savor. --Bret FetzerFunny-women Susan Saint James and Jane Curtin and Oscar® winner* Jessica Lange "are a pleasure to watch" (The Film Journal) in this hysterically funny film about a trio of housewives whose desperate need for money delivers a sizable "supply of laughs" (Boxoffice)!Jane, Elaine and Louise are three women on the verge of a financial breakdown until they spot the "Money Ball," a game involving a six-foot sphere and tons of whirling cash. But Jane, Elaine and Louise don't want to play Money Ball'they want to steal it! Will these inexperienced thieves soon be "rolling in it" or will this first attempt at crime spin them right into jail?*1! 994: Actress, Blue Sky; 1982: Supporting Actress, TootsieIn 1961, an elderly woman is "widowed" when her companion of 50 years dies. In 1972, a feminist co-ed lets her sexual politics take the back seat to a powerful attraction when she finds herself seduced by an outsider. And in 2000, a couple with almost everything that two women can have, want the one thing they can't have - unless something more than fate intervenes. HBO caused a stir when it aired If These Walls Could Talk, a portrait of three women from three generations (all who occupied the same house at various times) who had unwanted pregnancies. HBO utilizes the same gimmick in the sequel, this time telling the story of women who love women.

The three stories of If These Walls Could Talk 2 are uneven. Far and away the most powerful and moving story is the first, taking place in 1961, starring Vanessa Redgrave as a woman "widowed" when her partner of 50 years suddenly dies. Redgrave is phenomenal,! and her piece alone makes this sequel worth watching. The 197! 2 portio n stars Michelle Williams, who finds dealing with the sexual politics of the gay community increasingly more complex when she falls in love with a boyish woman (played by Chloë Sevigny). The most modern piece, taking place in 2000, portrays a contemporary lesbian couple (Sharon Stone and Ellen DeGeneres) determined to have a baby. The light nature of the story detracts from the more serious issues of the earlier segments. Despite the mixed fare, HBO once again proves itself on the cutting edge of moviemaking, with this rather daring film that will both provoke and entertain. --Jenny Brown From the guys who brought you GROSSE POINTE BLANK comes the absolutely hilarious HIGH FIDELITY. John Cusack (BEING JOHN MALKOVICH) stars as Rob Gordon, the owner of a semi-failing record store located on one of the back streets of Chicago. He sells music the old-fashioned way -- on vinyl, with two wacky clerks, the hysterically funny rock snob Barry (Jack Black) and the more quietly! opinionated underachiever Dick (Todd Luiso). But Rob's business isn't the only thing in his life that's floundering -- his needle skips the love groove when his longtime girlfriend Laura (newcomer Iben Hjejle) walks out on him. And this forces him to examine his past failed attempts at romance the only way he knows how! For a rocking fun time, give HIGH FIDELITY a spin. It's sure to make your all-time top five list for comedies -- with a bullet.Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel High Fidelity emerges unscathed from its Americanization, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (cowritten by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his al! l-time top-five breakups--which doesn't include his recent fal! ling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong.

Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack's Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in Say Anything (who was told "Don't be a guy--be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost-nonstop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black an! d Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer-songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta-Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. --Mark Englehart