Pretty Woman

It's a big week for Garry Marshall, whose classic romcom, now 20 years old, is ­getting a big-screen runout for Valentine's Day opposite his new attempt to capture the same dewy-eyed demographic. It consolidated Julia Roberts's mega-­career, put Richard Gere on the fast-track to silvery-haired distinction and gave us our first look at Jason Alexander, later to become the legendary, morose George in Seinfeld. At the time this neo-Cinderella was the ultimate guilty pleasure, though both the guilt and the pleasure have receded a little in the past two decades. LA prostitutes never looked more romantically glamorous or innocent. Nowadays, romcom heroines tend to be "working girls" in a more upscale setting, largely glimpsed over the credit sequence scuttling to work in their Manhattan office clutching their mobile phones and their Starbucks. The movie's most outrageous high-­concept moment – the stretch limo, ­private jet, opera – is pure camp.