Critics’ reviews

Pretty Woman (1990)

10 reviews from 10 publications. Critics’ score 71: 6 positive, 0 mixed, 1 negative.

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71
Positive
6
Mixed
0
Negative
1

Most critics welcome Pretty Woman as warm, polished romantic escapism, with Julia Roberts receiving the most consistent praise. The reviews single out her humour, naturalness and physical performance, while the chemistry between Roberts and Richard Gere makes the fairy-tale romance persuasive for many. Glossy presentation, sharp dialogue and supporting performances also earn approval, though the leads are the main reason critics give for accepting the unlikely premise.

The divide concerns how much that charm excuses. Several favourable reviews acknowledge the materialist fantasy and limited social depth, treating them as tolerable features of a lightweight romance; others find dated touches in the music and clothes. The Los Angeles Times is the sharp dissent, finding the comedy frail and its updating of Pygmalion lazy, with little convincing transformation. The spread is therefore wide, but the objections rarely overturn the prevailing affection for the performances.

RogerEbert.com
23 March 1990 · Roger Ebert
85*

The critic finds the film an innocent and openhearted romantic fable that glows with warmth despite its premise. He singles out the believable and sympathetic performances by Richard Gere and Julia Roberts for particular praise.

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Empire
1 January 2000 · Toby Rose
80*

The critic finds the film a lightweight modern fairy tale with strong chemistry between Gere and Roberts that overcomes its lack of social depth. The performances and stylish presentation are highlighted as its main draws.

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Variety
21 March 1990 · Variety Staff
80*

The critic calls it a crowd-pleasing romantic comedy that hits the right emotional targets and should be a monster hit. She singles out Julia Roberts' starmaking performance as the key element that makes the film blossom.

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The New York Times
23 March 1990 · Janet Maslin
75*

The critic calls the film giddy, lighthearted escapism that deserves a place in the time capsule of the era. She singles out Julia Roberts' enchantingly beautiful, funny and natural performance as the element that makes it special.

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Total Film
25 January 2010 · Jonathan Crocker
70*

The critic acknowledges the film's materialist fantasy elements but recommends enjoying the re-release as silly, snazzy escapism that evokes simpler times. Its enduring appeal as a star-making vehicle for Roberts is noted positively.

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Los Angeles Times
23 March 1990 · Sheila Benson
30*

The critic finds the film a frail comedy whose only real assets are Julia Roberts' physical presence. She singles out the lazy updating of Pygmalion and lack of genuine transformation work for complaint.

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Radio Times
4 out of 5 · Joanna Berry

The critic notes how the film became a delightful romantic comedy in Marshall's hands, making the hooker-meets-millionaire tale plausible with glossy direction, a hit-filled soundtrack, a perky screenplay, and strong supporting performances.

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The Hollywood Reporter
19 March 1990 · Henry Sheehan

The film creates a slick romantic comedy from the premise of a wealthy executive hiring a prostitute as his companion, transforming her into a sophisticated partner. It succeeds as polished entertainment with strong supporting performances and production design despite an underlying disregard for women's feelings.

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Time Out
9 February 2010 · 4 out of 5 stars · Anna Smith

The critic praises the sharp dialogue and great chemistry between Gere and Roberts, calling it a thoroughly enjoyable, character-driven romance that still stands up despite some dated elements like the soundtrack and wardrobe.

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Eye for Film
30 September 2005 · Angus Wolfe Murray
80*

The critic finds the film holds up extremely well on re-release, praising its integrity, style and restraint compared to modern American rom-coms, and singles out Julia Roberts' consistently good performance and body language that never lets viewers forget her character's roots.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate