Sabrina

Mr. Pollack's film runs into these obstacles so hard, in fact, that it runs right over them without difficulty. His "Sabrina" succeeds as a breezy, lighthearted throwback, made without benefit of the Hepburn magic but with much else in its favor.

The cinematic equivalent of comfort food it soothed when you were younger and, in its familiarity, it soothes again.

The new Sabrina is both pokier and gauzier than the original.

An entertaining, if a bit predictable, romantic comedy with a good cast. Expect anything more from it and you'll come away disappointed.

While it can’t hold a candle to Wilder’s film, the updated Sabrina has its moments.

This new Sabrina stresses the material's Cinderella love story - the part, that is, that was corny and somewhat dated even in the '50s. What director Sydney Pollack and his screenwriters (Barbara Benedek and David Rayfiel) have done is a little like redesigning the Ford Pinto and keeping the unfortunate old gas tank. [15 Dec 1995, p.19]

I am really sick of people going easy on this dud remake...Instead of the luminous Audrey Hepburn as Sabrina, the awkward chauffeur's daughter who goes to Paris and comes back a swan, we have Julia Ormond, a decent actress without an ounce of the movie-star glamour the part demands. Instead of Humphrey Bogart as Linus, the elder boss-man brother on the Long Island, N.Y., estate where Sabrina's father works, we have Harrison Ford at his most dour.

Ford is good but the tedium in this film is extreme. The odd laugh but too few.