On its release in 1990, the film Pretty Woman piqued the interests of producers everywhere. It’s not surprising considering that the film made for $14 million, went on to make $460 million at the box office.

Much of its success was down to the actress in the starring role – Julia Roberts.

It was a role that instantly made her a global star, that resulted in a number of starring roles including 1993’s The Pelican Brief and 1999’s Notting Hill.

And then she teamed up with indie director Steven Soderbergh, to star in a legal drama based on a true story.

After getting in a car accident, Erin Brokovich (Roberts) approaches a law firm, headed by Ed Masry (Albert Finney), who agrees to represent her.

Erin is in a bit of a fix, spending the last six years as she has looking after her three children on her own. Unfortunately the case doesn’t go her way, but she continues to make a nuisance of herself at the law firm, managing to get a job there, despite no legal qualifications.

She is sorting through some folders and notices a case, involving a huge corporation buying a home near a plant of theirs. She sees attached some medical records and wonders why. So when she doesn’t get any help about it from her co-workers, she decides to go visit the family herself.

In doing so she discovers a huge case is on the table, whereby the company involved could be culpable for a huge lawsuit. But can Erin and the team prove it?

This re-release is one of those that kind of both takes you by surprise and make you feel really old at the same time, seeing that it’s to celebrate the films 25th anniversary.

And it hasn’t aged a bit.

Even though Roberts was still fairly new to her career, it’s no surprise she won Best Actress at the Oscars, with what is still a phenomenal performance. And although much of its success is down to Roberts, and her on-screen relationship with Finney, the sparkling script by Susannah Grant shouldn’t be overlooked. It has some really sharp dialogue, which still holds up really well today, that helps Roberts shine throughout.

And Soderbergh knew exactly what he was doing, which was to simply have is camera pointed at Roberts for the majority of the film, soaking up her brilliance from every angle.

It just goes to show that when a great script and an actor on top of her game collide, the result is a timeless classic, that much like Roberts herself, has aged remarkably well.