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The title character, Sabrina Fairchild (Ormond), is the daughter of the Larrabee family's chauffeur (John Wood). But Sabrina is fun in its own way, and, though clearly flawed, it nevertheless offers two hours' solid diversion (the overlong running time, by the way, is one of those flaws). Its plot-by-numbers story doesn't offer much in the way of surprises, and it doesn't have the emotional power of a Leaving Las Vegas or the euphoric quality of The Brothers McMullen. I would never claim that Sabrina is one of 1995's best romantic movies (although it is an improvement on the overrated The American President). Despite the unambitious, formula-driven plot, wonderful performances by Julia Ormond and, especially, Harrison Ford keep this remake afloat. Happily, with Sabrina, that's not the case.
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Love is a difficult emotion to effectively capture on film, and, too often, screen romances look like two actors going through the motions. In general, I approach romances with a great deal of skepticism, principally because it's so easy to mess up this kind of movie. Sabrina joins this list as the latest classic whose script and cast have been updated for the '90s - although in the case of this variation on the Cinderella tale, the story admittedly has a certain timeless quality.
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What we are getting more and more from the big studios is a flood of sequels, films based on novels, films based on TV series, remakes, or a combination of the above. For bursts of inspiration or innovation, the movie-goer increasingly has to seek out independent motion pictures. These days, Hollywood seems to be almost entirely bankrupt of new ideas.