The New York Times by Janet Maslin

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.

Chicago Sun-Times by Roger Ebert

The new version is just as satisfying, if not as dry and cynical, as the original.

ReelViews by James Berardinelli

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. 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).

USA Today by Susan Wloszczyna

To redo such a sentimental gem without Hepburn's incandescence to light the way seems foolhardy at best, but director Sydney Pollack (Tootsie) miraculously almost pulls off his updated homage simply by choosing well and popping enough champagne corks to make us believe the wealthy are still glamorous despite Donald Trump. [15 Dec 1995, p.1D]

Philadelphia Inquirer by Carrie Rickey

Ford plays Linus as a consummate actor so good at feigning emotions that he fools even himself. It is a nuanced performance, astonishing in an otherwise innocuous film. Though Ormond's Sabrina doesn't exactly generate the heat to melt Ford's glacial CEO, his transformation from polar ice cap to volcano is heartstopping. Who'da thunk we were watching Cinderfella? [15 Dec 1995, p.03]

New York Daily News by Jami Bernard

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

San Francisco Examiner by Barbara Shulgasser

Resistant as I was to the idea of a remake, I have to admit that Pollack has made a movie that stands on its own, without odious comparison, as an entertaining love story, particularly if you've never seen the original.

San Francisco Chronicle by Edward Guthmann

Julia Ormond, the British beauty from "Legends of the Fall," has enough class and intelligence to carry it off. She's not a terrific actress, but her cool, patrician looks and her gorgeous voice -- more similar to Grace Kelly's than Hepburn's -- are well matched to the part of a gawky tomboy-turned-Cinderella.

Chicago Reader by Jonathan Rosenbaum

This is basically Hollywood nonsense with all the usual dishonesty, but it goes down easily.

Entertainment Weekly

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

Entertainment Weekly by Staff (Not Credited)

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

IGN

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

Washington Post by Desson Thomson

It's a workmanlike transmogrification from a 1950s fairy tale to a brash present-day romance. Thanks to Julia Ormond's rather delicate Sabrina and Harrison Ford's amusingly deadpan performance as Linus Larrabee, the movie certainly has its moments. But this "Sabrina" never evokes the sweet allure of Billy Wilder's original film. How could it?

Empire by Ian Nathan

Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.

Los Angeles Times by Kenneth Turan

Though some of the choicest talent in Hollywood is involved, including stars Harrison Ford and Julia Ormond and director Sydney Pollack, "Sabrina" plays like a standard brand. A mild romantic comedy, undemanding and unobjectionable, it fits the definition of product, a film made not for love but because it was a package that could be sold.

Variety by Todd McCarthy

This new "Sabrina" is more fizzle than fizz. Although the revamping of one of Audrey Hepburn's most enchanting vehicles has its share of diverting scenes and dialogue, Sydney Pollack and his writers have uncomfortably tilted this Cinderella story to less than scintillating results.

TV Guide Magazine

A truly lousy reworking of a Billy Wilder misfire... The story is drearily predictable, the leads are charmless -- Ormond's 15 minutes are probably already behind her -- and the direction, by the usually reliable Sidney Pollack, is strictly by the numbers.