I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Sorry, this movie sucks

Blistering performances.

The film never slows down or bores, plunging from one harrowing sequence to the next.

A very nice movie if you can get around the plot holes.You have to get around the idea that Sabrina falls out of love with David (who she has had a crush on for years) and into love with Linus in three days.Sabrina is flying back from France and taking Long Island Railroad (LIRR) to the Glen Cove station where she meets David by accident. But the LIRR didn't service Idlewild Airport (now JFK Airport). in 1954 (and still doesn't), You would have to take a bus or taxi (today a subway) to a LIRR station and then change. Also LIRR is a commuter rail (basically just an above ground subway), not an intercity rail line. This isn't practical for a lady with three suitcases and one dog. She would most likely take a taxi all the way home.At the end of the movie, Linus rushes to a tugboat to join Sabrina on the SS Liberte. Problems: Ticket had been changed from Linus' name to David's. Would the ship stop for a late passenger arriving by tugboat? Did Linus have his passport? He had no luggage. He would only have the little cash he was carrying. Except for Diners' Club, charge cards didn't exist.When Linus discussing plans to send Sabrina back to France he points out the Liberte dock (which would have been further north on the west site of Manhattan) from one window. Later in the final boardroom scene, you see the Staten Island Ferry (on the south tip of Manhattan) from another window. But it isn't clear if in the Larrabee building (show as located at 30 Broad St. near NY Stock Exchange) , they could see both the route of the Ferry and the dock for the Liberte , even when using different windows.Also note that in the final boardroom scene, you can see Staten Island Ferry and a large barge moving from left to right. If you watch closely, you will see that the scene is repeated several times.

Slickly done Cinderella story. And who wouldn't root for the gamin princess, Hepburn. One minute she's a plain Jane chauffeur's daughter, the next she's the belle of the high-falutin' ball, thanks to a Paris makeover. No more hiding in a tree watching the beautifully upholstered cavort around the employer's mansion. Now she's a center of every guy's attention. But she's got to decide which of the two millionaire sons (Bogart & Holden) to tie up with, which means crossing a tricky class line. Oh my, such a dilemma for a poor servant's daughter.As I recall, the movie was quite a hit. Certainly Hepburn's svelte figure and pixie-like features presented quite a contrast to the bosomy blonde sex goddesses of the day. All in all, she's a highly appealing screen presence whether as a tree waif or as the belle of the ball. Bogart's a rather odd choice as the older brother. He's showing his age and unfortunately only a couple years away from an untimely passing. Still, he and the much younger Hepburn manage to make their scenes together fairly believable.The plot's really little more than a showcase for screen vet Bogie, and the fast-rising Hepburn and Holden. Good thing the filming effort seems so effortless since many of the later scenes stretch beyond necessity, no doubt to accommodate the two leads. Overall, what the movie shows is how really slick Hollywood professionalism can transform a slender story idea into an appealing movie experience, regardless of length.

Sabrina is yet another one of those Audrey Hepburn films that personifies just how beloved she can be. She is the definition of everything you want in an actress. Beautiful, elegant, and she has all the charisma in the world. Sabrina is a film that she gets to showcase each of those things, and it works to perfection. Yes, the film is a twist on the Cinderella story, but I actually found it to be much more original than it appears to be.The film is actually pretty dark when you get down to it. It involves our main character attempting to commit suicide in the opening few minutes, and she nearly succeeds. The main love interest to Sabrina, Linus, also had once attempted suicide, so it's not your typical romantic love story. Sabrina is the daughter of a wealthy family's chauffeur and is head over heels in love with one of the family members. Of course, she is barely noticeable to the stuck up family and David never even cares to pay attention to her until she comes back from Paris in a beautiful dress with tons of make up and a new haircut. He comes on as a pretty unlikable character so it was hard to buy into that relationship, which is what the script intended for. It isn't until Bogart's character, Linus, shares his intimate past and they go on a fishing trip that I felt Sabrina fit in. Some people have a problem with Bogart's performance, but I thought it was brilliant. He was going through cancer at the time and had problems on set. But his performance is better than 95% of other actors out there in perfect conditions.What I think I love most about this film is that the ending and where our characters end up fits in with who they are. The whole film we are led to believe that our characters need to change who they are or just stay miserable in order to be most successful. But in reality, Sabrina and Linus deserved a new start and a new life. Paris was that for them. Back in the day, films had a tendency to present a clichéd ending that really only ended in happiness. This happy ending made sense to me and it never felt forced. Sabrina is an all time classic film, and definitely one of Wilder's best.+Hepburn's charisma +Intimate character moments +They deserve each other +An ending that makes sense, even if it's predictable +La Vie En Rose 9.6/10

As a fan of Billy Wilder, old movies and this trio of stars, I was looking forward to this. But I feel it's a bit of a letdown. Audrey Hepburn, as usual, is luminous (and she is, as usual, paired off with a suitor far too old for her). But part of the problem is what the story does with her character. She pines away for Holden, and then goes away to cooking school in Paris. Why does she go? Did she want to go? Unknown. While away, she writes her father a letter saying she is over Holden. But then, when she returns, she (in a rather absurd coincidence) runs into him at the train station. The two connect. So she wasn't over him after all? Or was she over him, but then fell back in love when she saw him? What was her plan if she hadn't coincidentally run into him? Who knows? Later, Bogart and Holden sort out which of them gets to "have" her, which is rather sexist and also robs her of her agency. (Surely a charming girl like that must have other options besides a buffoon and an old man.) Holden hasn't been given much of a character to play. He's all charm and nothing else. The script never rounds him out with grace notes that might have helped us to understand why he lives such a vacuous life. As an actor, Holden has consistently shown an ability to locate the darkness buried inside his characters, but he never seems to tap into that quality here. (It might have been interesting if Hepburn, during the course of dating Holden finally realized what a shallow loser he is and dumped him. And then maybe Holden, in turn is forced to reexamine his life. But the story never explores that darker, more interesting possibility. Instead, Hepburn is a pawn in the men's games.) As for Bogart, he was, of course, one of our great stars and did amazing work in dramas and crime stories. But in a light romantic comedy like this, he's very much out of his element, like Holden is. (Bogart took the role after Cary Grant turned it down.) Bogart manages to capture the cold sourness of his character just fine, but he never locates the man's gradual transformation into a guy in love. He never seems interested in Hepburn at all, which is oddly something of an accomplishment, given how beautiful Hepburn is. The problem is further exacerbated by the fact that Bogart is too old, unattractive and emotionally cold for Hepburn to ever give him the time of day. When these two would-be lovers are reunited at the very end of the film, they hug rather than kiss. It's as if the filmmakers are acknowledging the absurdity of that these two might actually be right for each other. Or perhaps they know that there's something rather gross about the fifty-ish Bogart kissing the twenty-ish Hepburn.