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**A completely dispensable remake, for many of the qualities it may have, and which it does!** Firstly, allow me to say that I am not one of those who think that there can or should be untouchable films, which due to their value or relevance should never be subject to revisits or remakes. “Sabrina”, the original film starring Audrey Hepburn and Humphrey Bogart, is a renowned classic and its place will never be in question. However, after seeing this modern remake, I can't help but feel that it was unnecessary. Despite being a good film, it can't be better than the original, it isn't the slightest bit different, and it wasn't able to update the original story. I really don't know where Sidney Pollack was able to think this was a good idea. The story of this film, as well as a large amount of the dialogue, are copied from the original onto carbon paper, with almost no essential modifications. In fact, the most striking phrases of the dialogues are all there, the situations are the same. Where the film tries to be better is, essentially, in the high production values and the updating of a series of details without great relevance. For example, young Sabrina no longer goes to Paris to become a chef, but to work as an assistant at “Vogue” magazine. And of course, the sets, the filming locations, the props, everything takes us back to contemporary times and is done with the utmost good taste, from the choice of the mansion to the Larrabee corporate headquarters. And given that Pollack is a renowned and highly prestigious director, it's no surprise that the cinematography and soundtrack are also excellent: he was able to find the best. For example, the soundtrack is written by John Williams and, although it is not a remarkable work by the composer, it still has the quality he has accustomed us to. As for the cast, Pollack also bet on great actors, with solid credits and a solid career in the seventh art. The three main protagonists are Julia Ormond, Harrison Ford and Greg Kinnear, and the latter is perhaps the director's riskiest bet. Ormond and Ford give us, each in their own way, solid and consistent interpretations. However, if in the original film the huge age difference between Bogart and Hepburn was barely noticeable, this was glaring here, and it is extremely bizarre to see Ormond flirting with a man who appears to be her father. And with an aggravating factor: Ford is not, and has never been, an actor particularly suited to romantic plots, it is not a comfortable terrain for him. As a result, Ford and Ormond's romantic chemistry resembles a wall between them. Greg Kinnear does what he can, but doesn't have the strong charisma that is necessary for playboy David. The film also features contributions from John Wood, Nancy Marchand, Lauren Holly and Paul Giamatti.
In a summer Paris, during an epidemic, a ghostly character from another time discovers our contemporary urban life. His contemplative wandering, from afternoon to dawn, gives him ideas of alexandrines; those of Melancholia, written by Victor Hugo in 1856...
Two young men, one rich, one middle class, both in love with the same woman, become US Air Corps fighter pilots and, eventually, heroic flying aces during World War I. Devoted best friends, their mutual love of the girl eventually threatens their bond. Meanwhile, a hometown girl who's the lovestruck lifelong next door neighbor of one of them pines away.
When Marie St. Clair believes she has been jilted by her artist fiance Jean, she decides to leave for Paris on her own. After spending a year in the city as a mistress of the wealthy Pierre Revel, she is reunited with Jean by chance. This leaves her with the choice between a glamorous life in Paris, and the true love she left behind.
A focused city worker and a laid-back surfer - both heirs to the same company - find they have plenty in common when they join forces in the boardroom.
Richard, a 40-year-old filmmaker conquered by an unexplained anxiety attack, lets go of his current shoot and wanders through nocturnal Paris, in search of answers, solace and inspiration. During this sleepless night, at random encounters, sometimes warm, sometimes disturbing, crossing foreign figures, unknown bodies or familiar faces, Richard will face his fears and question his deep desires... until dawn.
In Brooklyn circa 1900, the Nolans manage to enjoy life on pennies despite great poverty and Papa's alcoholism. We come to know these people well through big and little troubles: Aunt Sissy's scandalous succession of "husbands"; the removal of the one tree visible from their tenement; and young Francie's desire to transfer to a better school...if irresponsible Papa can get his act together.
This is the story of three brothers - a priest, a soldier, and an outlaw - that are raised separately by their godfathers once their mother dies. They cross their paths again when the soldier and the priest move into two towns near the town the outlaw lives in. The drama will unfold once the three brothers meet each other.
Mathias Gold is a down-on-his-luck New Yorker who inherits a Parisian apartment from his estranged father. But when he arrives in France to sell the vast domicile, he's shocked to discover a live-in tenant who is not prepared to budge. His apartment is a viager—an ancient French real estate system with complex rules pertaining to its resale—and the feisty Englishwoman Mathilde Girard, who has lived in the apartment with her daughter Chloé for many years, can by contract collect monthly payments from Mathias until her death.
The story of the birth of a love between two young people, about its duration, with all the difficulties and beauty that it brings, the closing of that love because of conflicts with exaggerated dynamics and false values of contemporary life.