About a third of the way into this picture, its lead character, Rob Gordon (John Cusack, who also coproduced and had a hand in the script), describing an old girlfriend he's recently caught up with, says, "She reviews movies for a living, which is unassailably cool." And, of course, High Fidelity is unassailably the greatest film ever made, a towering achievement that will be loved and revered long after such pretenders to the throne as Citizen Kane, Battleship Potemkin, and Grand Illusion are forgotten. Okay. Actually, High Fidelity is a solid, entertaining, and often very funny piece of work that, like the Nick Hornby novel on which its based, offers sound, if conventional, wisdom on the whole male-female thing. Sporting a haircut that's worse than his putatively shlubby character deserves, Cusack's Gordon takes us on a guided tour of the disastrous relationships in his life, spurred on by the departure of his latest and greatest love, Laura (Iben Hjejle). Not a lot you haven't seen before — in fact, Cusack's character is basically an older version of the lovable underdogs he played in Better off Dead and One Crazy Summer — but the hook here is that Rob's a record-store owner and obsessive music collector, so all the relationship stuff is refracted through that very particular sensibility. With especially juicy roles are the manic Jack Black and extremely tentative Todd Louiso as Rob's employees (Louiso coming off like Stan Laurel trapped in the body of Moby), and Tim Robbins as Laura's cretinously New Agey boyfriend. Fidelity might not be one for the hall of fame, but it spins a pretty catchy tune.