Richard Gere

Works precisely because it is so upsetting, unusually so for a studio film, and so empathetic for Connie at the hands of her attractive manipulator.

What should we expect...other than being taken for a ride? Just as Irving does, Hallstrom picks out a sexy convertible for the job.

It’s too easy to hold the film’s at arm’s length and scoff at Sparks’ cynical repetition of psycho-romance clichés and meteorological metaphors.

An unfolding mystery in which truth is elusive, and twists are the order of the day...gives Norton a career-making opportunity to strut his stuff.

Believing in love is swell and all, but maybe we're better off not buying the brand Pretty Woman is selling.

Playing a character that's almost entirely unsympathetic, Gere demonstrates the outward charm that's allowed Miller to accumulate his wealth and status, as well as the abyss-staring soul his showmanship conceals.

Though it’s hit and miss for audiences trying to forget Gere’s screen history, Moverman ably serves a slice of homeless life, dramatizing a problem we’ve contended with further back than we can remember.

Norman’s thoughtful dramatic construction, built around a central symbol of a pair of shoes, addresses politician’s voracious desire to 'go places,' ever outpacing forethought of where that ambition will take them...