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.
