--- title: "Pretty Woman" year: 1990 kind: "film" canonical: "https://film.one/film/pretty-woman" fi1m_id: "pretty-woman" imdb_id: "tt0100405" tmdb_id: 114 wikidata_id: "Q207954" fi1m_score: 77 critics_score: 71 critics_reviews: 7 published: "2026-09-13" updated: "2026-10-06T12:12:32.088066+00:00" region: "PH" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Pretty Woman (1990) Directed by Garry Marshall · 2h 00m · MTRCB PG · Romance, Comedy ## Identity Pretty Woman - **Canonical:** https://film.one/film/pretty-woman - **Type:** Film - **Fi1m ID:** pretty-woman - **IMDb ID:** tt0100405 - **TMDB ID:** 114 - **Wikidata ID:** Q207954 - **Same entity:** https://www.imdb.com/title/tt0100405/, https://www.themoviedb.org/movie/114, https://www.wikidata.org/wiki/Q207954 **Fi1m score: 77** · Critics 71 from 7 reviews *In a sentence:* The millionaire has everything, including the good sense to let Julia Roberts do the talking > Julia Roberts makes *Pretty Woman* funny and affecting, with Richard Gere giving her room to work. We recommend it as romantic escapism, provided its faith in wealth does not spoil the pleasure. ## Synopsis Vivian Ward (Julia Roberts) is a sex worker hired by wealthy executive Edward Lewis (Richard Gere) to be his companion. Their arrangement brings Vivian into unfamiliar company, where money affects how people behave towards her and what they expect her to become. As the pair spend time together, the practical terms of their agreement begin to compete with personal attraction. Garry Marshall directs this romantic comedy, written by J.F. Lawton’s, with Héctor Elizondo as the hotel manager, Laura San Giacomo as Kit De Luca and Jason Alexander as Philip Stuckey. ## Review Garry Marshall’s *Pretty Woman* is a good romantic comedy with a forgiving view of what money can buy. We recommend it for Julia Roberts and Richard Gere, whose attraction makes the arrangement between a sex worker and a wealthy executive feel less calculated than it sounds. Marshall keeps the comedy light enough for affection to develop, without apologising for wanting to please. The difficulty comes when J.F. Lawton’s screenplay asks us to accept expensive company as evidence of a better life. Roberts gives Vivian enough humour and self-possession to resist becoming somebody else’s improvement scheme. We laughed at the way Roberts lets Vivian’s physical unease outlast the change in her clothes. Smarter clothes do not make her suddenly look at ease, and Roberts makes that discomfort funny without surrendering the character’s dignity. Her warmth matters, but so does her stubbornness; the performance keeps suggesting a woman who existed before Edward started paying attention. Gere helps by leaving her space, playing Edward with a reserve that gives Roberts’s liveliness something to push against. The attraction works because neither actor seems determined to win every exchange, and Gere’s quieter presence stops the pairing becoming exhausting. Héctor Elizondo brings a welcome kindness to the hotel manager, while Laura San Giacomo gives Kit De Luca enough bite to keep the supporting company from seeming uniformly agreeable. Edward remains the less interesting person, but Gere makes his company pleasant enough for the romance to proceed. Charles Minsky’s photography flatters the couple and their expensive surroundings, keeping the fantasy inviting. Albert Brenner’s production design gives Edward’s money a visible appeal; we understand why entering his life might be tempting before anyone makes a case for it. Marilyn Vance’s costumes make the proposed change in Vivian’s social position easy to read. All three serve Marshall’s fairy tale efficiently, though the gloss also makes its assumptions about wealth difficult to ignore. Editors Priscilla Nedd-Friendly and Raja Gosnell allow the performances enough breathing space for the attraction to register, even when the story offers few surprises. At 120 minutes, however, the film spends longer on its fantasy of sophistication than that fantasy quite deserves. James Newton Howard’s music supports the tender mood without adding much complication, while the song-filled soundtrack is eager to keep things cheerful. The musical insistence becomes a small nuisance when the actors have already made the feeling clear. Lawton gives the leads conversational friction, but is much less curious about the imbalance built into their agreement. Vivian’s work is treated chiefly as something a generous man might help her escape, and the film spends little time asking what generosity means when he controls the money. Roberts provides a sense of independence that the story too readily takes for granted. We can enjoy this as wish fulfilment while still wishing it gave her more scope beyond becoming desirable company for Edward. Romantic comedies are allowed unlikely premises; the test is whether the people make their time together feel worthwhile. Marshall passes that test, helped enormously by two leads who suggest pleasure in each other’s company without turning every exchange into a declaration. His lighter passages know when to let the actors be charming without demanding much else from them. Choose it for Roberts; do not expect it to settle an argument about money and romance. *Fi1m score 77, published 13 September 2026.* ## What the critics say 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. ## Straight answers **Is Pretty Woman worth watching?** *Pretty Woman* is worth watching as romantic escapism, and we scored it 77. Julia Roberts makes Vivian funny and self-possessed, with Richard Gere giving her room to work, and the pair are good company for two hours. It suits anyone who wants a fairy tale; it will annoy anyone who wants the film to think harder about money. **How long is Pretty Woman, and what is it rated?** *Pretty Woman* runs 2h 00m and is rated PG by the MTRCB in the Philippines. It is a romance and comedy film. **Where can I watch Pretty Woman in the Philippines?** *Pretty Woman* is not on any streaming or rental service in the Philippines at the moment. It is available in 44 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Pretty Woman, and is it suitable for children?** *Pretty Woman* is not violent or frightening, but its UK 15 certificate reflects its adult subject: a romance between a sex worker and the wealthy man who hires her, with language and sexual content to match. It is not for children. Teenagers of fifteen and up will find nothing here more alarming than the premise itself. **How does Pretty Woman compare to It Happened One Night?** *Pretty Woman* and [*It Happened One Night*](https://film.one/film/it-happened-one-night) both let attraction wear down the class distance between a mismatched couple, but Frank Capra's film is the sharper of the two, with bickering that stays funny and sexy rather than tender. Marshall's film is glossier and softer on wealth. Choose *Pretty Woman* for Roberts and comfort; choose the Capra for wit, allowing for its dated view of a woman needing taking in hand. **What should I watch after Pretty Woman?** After *Pretty Woman*, try [*It Happened One Night*](https://film.one/film/it-happened-one-night) (1934, Fi1m 88): Another mismatched couple discovers that attraction makes class distinctions difficult to maintain. Then [*The Apartment*](https://film.one/film/the-apartment) (1960, Fi1m 91): Romance survives compromised working arrangements, with more attention to the cost of compliance; and [*Notting Hill*](https://film.one/film/notting-hill) (1999, Fi1m 78): Roberts again makes an unequal romance credible, this time from the privileged side. ### Reviews we read (10) - **RogerEbert.com**, Roger Ebert (85/100, inferred): 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. [Read](https://www.rogerebert.com/reviews/pretty-woman-1990) - **Empire**, Toby Rose (80/100, inferred): 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. [Read](https://www.empireonline.com/movies/reviews/pretty-woman-review/) - **Variety**, Variety Staff (80/100, inferred): 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. [Read](https://variety.com/1990/film/news/1990s-film-review-pretty-woman-1201345118/) - **The New York Times**, Janet Maslin (75/100, inferred): 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. [Read](https://www.nytimes.com/1990/03/23/movies/review-film-high-rolling-boy-meets-streetwalking-girl.html) - **Total Film**, Jonathan Crocker (70/100, inferred): 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. [Read](https://www.gamesradar.com/pretty-woman-20th-anniversary-re-release-review/) - **Los Angeles Times**, Sheila Benson (30/100, inferred): 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. [Read](https://www.latimes.com/archives/la-xpm-1990-03-23-ca-549-story.html) - **Radio Times**, Joanna Berry (4 out of 5): 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. [Read](https://www.radiotimes.com/movie-guide/b-uchxhe/pretty-woman/) - **The Hollywood Reporter**, 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. [Read](https://www.hollywoodreporter.com/movies/movie-news/pretty-woman-review-1990-movie-988195/) - **Time Out**, Anna Smith (4 out of 5 stars): 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. [Read](https://www.timeout.com/movies/pretty-woman) - **Eye for Film**, Angus Wolfe Murray (80/100, inferred): 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. [Read](https://www.eyeforfilm.co.uk/review/pretty-woman-film-review-by-angus-wolfe-murray) ## Details - **Director:** Garry Marshall - **Director:** Garry Marshall - **Writer:** J. F. Lawton - **Cinematography:** Charles Minsky - **Editor:** Priscilla Nedd-Friendly, Raja Gosnell - **Music:** James Newton Howard - **Production design:** Albert Brenner - **Costume design:** Marilyn Vance - **Producer:** Steven Reuther, Arnon Milchan - **Cast:** Julia Roberts as Vivian Ward; Richard Gere as Edward Lewis; Ralph Bellamy as James Morse; Jason Alexander as Philip Stuckey; Laura San Giacomo as Kit De Luca; Héctor Elizondo as The Hotel Manager; Alex Hyde-White as David Morse; Amy Yasbeck as Elizabeth Stuckey - **Runtime:** 2h 00m - **Certificate (MTRCB):** PG - **Release (the Philippines):** 5 July 1990 - **Genres:** Romance, Comedy - **Also in:** [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 1990); [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 1990) - **Budget:** $14 million - **Box office:** $463 million ## Where to watch in the Philippines Not streaming, renting or buying in the Philippines at the last check. Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1991: Best Actress (nominated) ## If you liked this - *It Happened One Night* (1934), Fi1m 88: Another mismatched couple discovers that attraction makes class distinctions difficult to maintain. — [Fi1m page](https://film.one/film/it-happened-one-night.md) - *The Apartment* (1960), Fi1m 91: Romance survives compromised working arrangements, with more attention to the cost of compliance. — [Fi1m page](https://film.one/film/the-apartment.md) - *Priceless* (2006): Money complicates another flirtation, with rather less innocence about who wants what. - *Notting Hill* (1999), Fi1m 78: Roberts again makes an unequal romance credible, this time from the privileged side. — [Fi1m page](https://film.one/film/notting-hill.md) - *The Lunchbox* (2013), Fi1m 75: For a quieter courtship, built on attention rather than extravagant promises or spending. — [Fi1m page](https://film.one/film/the-lunchbox.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/pretty-woman