Morning Glory (2010)
When hard-working TV producer Becky Fuller is fired from a local news program, her career begins to look as bleak as her hapless love life. Stumbling into a job at "Daybreak" (the last-place national morning news show), Becky decides to revitalize the show by bringing on legendary TV anchor Mike Pomeroy. Unfortunately, Pomeroy refuses to cover morning show staples like celebrity gossip, weather, fashion and crafts – let alone work with his new co-host, Colleen Peck, a former beauty queen and longtime morning show personality who is more than happy covering morning "news." As Mike and Colleen clash, first behind the scenes and then on the air, Becky's blossoming love affair with fellow producer, Adam Bennett begins to unravel – and soon Becky is struggling to save her relationship, her reputation, her job and ultimately, the show itself.
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So much average
It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.
There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes
This is a dark and sometimes deeply uncomfortable drama
Rachel McAdams is atrocious, ruining this movie by overacting ditziness and scattiness to an absurd degree. She squeaks and squawks and flings her arms around like some kind of demented windmill. You find yourself mystified as to why Diane Keaton and Harrison Ford chose to dignify MORNING GLORY with their presence; and hoping against hope that Harrison's character would just shoot the babbling idiot of a protagonist.
Kind of hard to know whether to congratulate Morning Glory for being enjoyable - so dashed all-round pleasant - with such formulaic ingredients, or to condemn it for failing to be much better with ingredients that offered more.In title and intermittent breathlessness it's a call back to the screwball comedies of the 30s, but that only highlights how much it misses their sharpness of script.It doesn't seem to know what to do with any of the potential narrative trajectories, and ends up offering a kind of taster menu of each without any one satisfying. Whether or not peppy McAdams turns the failing show around may not be much of a surprise, but the pacing of the elements of it is. The relationship with Patrick Wilson - and its signposted points of tension - doesn't develop in any one direction. The relationship with Harrison Ford - the question of whether he's right to push serious news, or whether the breakfast pap is legitimate - tries clumsily to develop in both.McAdams carries the film with surprising zest, irrepressibly perky without being tiresome, principled and determined without being saccharine, able to make a fool of herself without losing charm. But the film's a tragic waste of her two senior co-stars.Harrison Ford's role as the legendary war reporter who can't believe he's reduced to the humiliating depths of breakfast-time lifestyle fluff is perfect for him. He can be obnoxiously grouchy in the safe knowledge that we all love him really; his real-life reputation and star persona make the grumpiness and the underlying fatherly wisdom equally credible, and he enjoys himself by never breaking the humourlessness. But the potential is wasted by episodes that don't exploit the comic potential, and a storyline that doesn't give him a clear enough journey. Diane Keaton, meanwhile - enough of a great to have immediate gravity, and a legendary comedienne - just disappears. Her character - its potential as sparring partner or lesson for Ford, or mentor for McAdams - barely exists. It's as if the producers were so busy congratulating themselves at such a brilliant pairing for the feuding TV anchors that they forgot to write the script for them.It's all congenial enough; but it promises champagne and delivers a nice cup of tea. (more at https://thescripthack.wordpress.com/)
When the trailer for "Morning Glory" first hit the airwaves, it looked like a fun little film. Rachel McAdams plays a spunky journalist, Harrison Ford lends his big-screen gravitas to the project, and the entire project is produced by JJ Abrams. Unfortunately, this is one of those cases in which the trailer shows all the best parts of the film. Beyond that, there really isn't much.For a basic plot summary, "Morning Glory" focuses on Becky Fuller (McAdams), a workaholic TV journalist who gets fired from her cushy position and thus takes a job at the lowest-rating morning news show on the air. In order to turn the show around, she reaches out to news anchor "legend" Mike Pomeroy (Ford), whose gruff exterior threatens to destroy the entire project.The trouble with this movie is that director Roger Michell never allows us to truly feel for the characters, as they are so clichéd and one-dimensional. He tries to develop McAdams' go-getter character, but she's so over the top as to be almost laughable. Ford's character is almost a walking cliché of "hard news" grumpiness. Even the romantic angle that should (with a better script) tie the characters together instead falls flat and wastes many precious minutes.The one redeeming factor in "Morning Glory" is the performance by Harrison Ford. Though he seems to be an odd choice for the part, as his actual news anchor scenes are not convincing whatsoever, just his incredible acting talent in general carries the entire film on his shoulders. When he isn't on the screen, you'll be wishing he was, as that is when things are funny and interesting.Overall, I found this movie to be quite disappointing. It was almost as if Hollywood figured "Ford will bring in the men, McAdams the women, so why work too hard at making it really good?".
Take a young, attractive, highly motivated would be television executive lacking any experience, add a fledging, soon to be cancelled television morning show and the following off-the-shelf characters: (1) an aging, grumpy investigative reporter past his prime, (2) a grumpy, aging talk show host equally past her prime and (3) a grumpy if not aging managing executive who, for unexplained reasons, hires our young, attractive, highly motivated but inexperienced lead as executive producer. Further add a few odd-ball straight-men for comic relief and a couple of reasonably good lines, "a couple" meaning "two", and presto: a further petri dish film is born.Given an eminently foreseeable story-line and one-dimensional characters, Ms McAdams, Mr Ford and Ms Keaton do a reasonable job attempting to breath some life into this film but even defibrillators have a maximum setting and for good reason; there is a point where honest attempts at resuscitation turn into superfluous and cruel mutilations of a corpse.