High Fidelity: romantic comedy. Starring John Cusack, Jack Black, Lisa Bonet, Joelle Carter, Catherine Zeta-Jones, Joan Cusack, Sarah Gilbert, Iben Hjejle, Todd Louiso, and Lili Taylor. Directed by Stephen Frears. Based on a novel by Nick Hornby. Now playing at Bay Area theaters.

In High Fidelity, the Reality Bites generation is all grown up, and the only thing they've left behind is their early twenties. The alternative heroes in this flick are still decorating their apartments in thrift store chic, working for independent record stores, and arguing over obscure pop culture references. It's the perfect backdrop for another Gen-X love story. I found it delightful.

Not so long ago, I wrote a review of Grosse Point Blank, in which I applauded John Cusack's decision to return to his romantic lead roots. This was mostly because I've had a crush on him since his earnest portrayal of highschool kickboxer Lloyd Dobbler in "Say Anything". In High Fidelity, he hasn't lost his touch. He's still a philosophically anguished, loveable everyman, but now a little older and wiser.

Cusack plays Rob Gordon, owner of your typical small record store in a tucked away section of Chicago. He spends his days organizing his record collection by autobiographical events and listening to his two employees (Jack Black and Todd Louiso) battle each other with their encyclopedic knowledge of music trivia. Not a glamorous life, but it works for Gordon.

Now for the love story: Gordon's girlfriend (Iben Hjejle) has just run off with a monkish New Ager (Tim Robbins), prompting Gordon into a period of soul searching reflection. Why is his love life doomed? Will he ever love again? Did he listen to pop music because he was miserable, or was he miserable because he listened to pop music? In an effort to find the answer to these and other questions, Gordon takes us on a guided tour of his woeful love history. In it, we meet:

-Penny (Joelle Carter): the wholesome college girlfriend with a heart of gold and a penchant for celibacy

-Charlie (Catherine Zeta-Jones): the insipid, pretentious, and gorgeous post-college flame. She's the type of person who discusses any subject, no matter how banal, as if she is the only person ever to have offered an opinion on it.

-Sarah (Lili Taylor): the post Charlie-breakup arrangement who has the nerve to eventually find someone she likes better than Gordon.         

Thrown in for good measure in real time is the sultry local crooner, Marie De Salle (Lisa Bonet). De Salle sleeps with Gordon in his time of need, because she believes sex to be a basic human right.

The autobiographical love journey theme is one most people can relate to. Who hasn't had the urge to document the succession of great romances in one's life, whether it be via film, poetry, or soulful collage? To compare and contrast the distinct textures and awarenesses behind each of our relationships helps us fine-tune our own identities.

And so, through Gordon's tale, we get a glimpse of his own self-proclaimed identity. He's your typical guy, muddling through life, riding on boyish good looks and charm. He's the first to admit that he's no brain surgeon. His favorite book of all time is "Cash" by Johnny Cash, and he's more interested in making top five lists than understanding politics in El Salvador. But he has two things going for him: he's honest and he's not a sellout.       

The plot is amusing and presents a few twists. But it's the hilarious dialogue and well-developed characters that steal the show. The script is ripe with middle age jokes, which you won't be able to help laughing at. And each cast member delivers a nearly flawless  performance.       

An honorable mention goes first to Jack Black, who steals the show as Barry, the irrepressibly obnoxious, but ridiculously funny record store laborer. He executes even the merest twitch of a facial muscle beautifully. Tim Robbins, is great as Ian, the sitar-listenin', raw-silk-pullover-dress-shirt-wearin', ponytail-havin' New Age punk who steals Gordon's girlfriend. And Lisa Bonet also deserves mention for her role as sexy siren Marie De Salle. Every now and then, Bonet pops up in the sensuous, husky-voiced hipster role, often with an adulterous angle. It suits her well.        

High Fidelity is not a deep movie, but it is very smart and funny, and full of great music. In the end, Gordon learns a few lessons about life, love, and adulthood, and we all go out and buy the soundtrack.