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What Women Want

What Women Want

Comedy · Romance · 2000

Advertising executive Nick Marshall is as cocky as they come, but what happens to a chauvinistic guy when he can suddenly hear what women are thinking? Nick gets passed over for a promotion, but after an accident enables him to hear women's thoughts, he puts his newfound talent to work against Darcy, his new boss, who seems to be infatuated with him.

Movie details

What Women Want

“He has the power to hear everything women are thinking. Finally... a man is listening.”

2000 Comedy · Romance 2h 7m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Advertising executive Nick Marshall is as cocky as they come, but what happens to a chauvinistic guy when he can suddenly hear what women are thinking? Nick gets passed over for a promotion, but after an accident enables him to hear women's thoughts, he puts his newfound talent to work against Darcy, his new boss, who seems to be infatuated with him.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over What Women Want?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

What Men Want

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Love, Weddings & Other Disasters

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Aquamarine

Aquamarine

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Names above the title

The people responsible.

Directed by

Nancy Meyers

Written by

Cathy Yuspa · Diane Drake · Josh Goldsmith

Mel Gibson

Mel Gibson

Nick Marshall

Helen Hunt

Helen Hunt

Darcy McGuire

Marisa Tomei

Marisa Tomei

Lola

Alan Alda

Alan Alda

Dan Wanamaker

Ashley Johnson

Ashley Johnson

Alex Marshall

Mark Feuerstein

Mark Feuerstein

Morgan Farwell

Lauren Holly

Lauren Holly

Gigi

Court is in session

Put What Women Want on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.