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Sabrina

Sabrina

Romance · Drama · Comedy · 1995

After her return from school in Paris, a playboy finally takes notice of his family's chauffeur's daughter Sabrina, who's long had a crush on him, but he questions his more serious brother's motives when he warns against getting involved with her.

Movie details

Sabrina

“You are cordially invited to the most surprising merger of the year.”

1995 Romance · Drama · Comedy 2h 7m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

After her return from school in Paris, a playboy finally takes notice of his family's chauffeur's daughter Sabrina, who's long had a crush on him, but he questions his more serious brother's motives when he warns against getting involved with her.

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 Sabrina?

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.

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The employees of an independent music store learn about each other as they try to stop the store from being absorbed by a large chain.

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Love in the Afternoon

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Where it lives

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Names above the title

The people responsible.

Directed by

Sydney Pollack

Written by

Barbara Benedek · David Rayfiel

Harrison Ford

Harrison Ford

Linus Larrabee

Julia Ormond

Julia Ormond

Sabrina Fairchild

Greg Kinnear

Greg Kinnear

David Larrabee

Nancy Marchand

Nancy Marchand

Maude Larrabee

John Wood

John Wood

Fairchild

Richard Crenna

Richard Crenna

Patrick Tyson

Angie Dickinson

Angie Dickinson

Ingrid Tyson

Court is in session

Put Sabrina 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.