The One-Line Summary: Young, energetic TV producer Becky (Rachel McAdams) is out of a job and looking for a fresh start when she takes on the lowest rated television morning show and tries to turn it around, despite the utter turmoil of the show’s production, staff, and budget.
The Two-Line Blurb: Directed by Roger Michell, Morning Glory is processed, low calorie sugar designed solely to entertain and do nothing more, with a predictable plot, stock characters, contrived conflicts with resolution seen coming from a mile away, though it is also likable, sometimes funny, and easy to digest. McAdams is running on high wattage charm with some good support from Diane Keaton and Harrison Ford as bickering co-hosts of the show who naturally are at each other’s throats, though it refuses to be anything but light comedy rather than make a statement about the business.
The Three-Line Set-up: This moment is all about introductions and begins with the first time Becky applies for the position of executive producer on Daybreak, the flailing morning show, but is scoffed at by the station manager who then decides she’s perfect for the job. Becky sets up shop quickly, firing the long-running host of the show and establishing a working relationship with the other co-host Colleen Peck (Diane Keaton). She realizes that a famous news journalist is actually under contract with IBS and would be the best on-screen partner for Peck but the problem is, he’s an arrogant, egotistical, and wholly unpleasant person.
The Four-Line Moment: Becky has started a flirtatious and sexual relationship with Patrick Wilson, one of the other producers on the show, and he has experience with Mike Pomeroy (Ford), who he thinks is a terrible choice for the role, but stands firm is his belief that Becky can turn him into a morning TV co-host. Her first meeting with Pomeroy doesn’t go well until she points out that his contract with IBS, one he’s managed to dodge for years while still collecting a salary, clearly states that if he is offered an official position, he must accept or lose the substantial income he is receiving. She convinces him to do it for the money, and upon his acceptance and sudden appearance on set, reminds her of his storied and celebrated past. The film’s best comedic moment, Ford delivers with an acerbic bite that reveals his distaste in the situation and the demeaning nature of his decision while clinging to a past that brought him fame but has done nothing to keep him there.
The Five-Word Review: Sometimes funny but mostly shallow.
Director:
Roger Michell
Writer:
Aline Brosh McKenna
Stars:
Rachel McAdams, Harrison Ford, Diane Keaton