Morning Glory


Morning Glory

Diane Keaton is thrilled she still knows which one of them is Indiana Jones.

(2010) Comedy (Paramount) Harrison Ford, Rachel McAdams, Diane Keaton, Patrick Wilson, Jeff Goldblum, Patti D’Arbanville, Ty Burell, John Pankow, J. Elaine Marcos, Matt Malloy, Curtis “50 Cent” Jackson, Reed Birney, Linda Powell, Vanessa Aspillaga. Directed by Roger Michel

Anyone who has to get up in the morning to go to work has at one time or another watched at least a snippet of a TV morning show, like “Good Morning America” or the granddaddy of them all, the “Today Show.” Making this kind of shows work takes a special kind of animal.

Whereas some women dream of finding Mr. Right or of having children, Becky Fuller (McAdams) dreams of producing the “Today Show.” She’s well on her way to getting there too, as a talented and highly-regarded producer on a local morning show in New Jersey. It’s no surprise that rumors are swirling that she’s about to be promoted to executive producer.

Instead, she’s let go in a cost-cutting move. Devastated only for a moment, the terminally chipper and perky Becky rolls up her sleeves and gets to work finding herself a new job on a different show. She finally finds one – on the lowest rated morning show on the lowest rated network – “Daybreak” on IBS.

The show is in the dumper for a number of reasons; no imagination, no good ideas, no energy, no life. Becky is bound and determined to turn the show around, going so far as to fire the smarmy lothario of a co-anchor (Burell) on her first day. Colleen Peck (Keaton), the ex-beauty queen co-host is clearly skeptical of Becky’s abilities to get anything done, although she approves of her ouster of her former partner, but the situation remains – morning show co-hosts don’t just go on trees.

Then Becky gets the bright idea of hiring Mike Pomeroy (Ford), a legendary news anchor who makes Dan Rather look like Perez Hilton. Dour and described by his producer Adam Bennett (Wilson) as the “third-worst person in the world,” Pomeroy has no intention of taking on a position that he views as contributing to the demise of proper news reporting – until it becomes clear that if he doesn’t, he’ll forfeit his lucrative salary.

The addition of Pomeroy actually makes things worse initially. He has no intention of doing the job they want him to do, and he has right of first refusal to any story assigned to him. He comes off as dour, curmudgeonly and humorless which is not exactly what people are looking for in a morning show. The ratings are declining and Becky’s boss (Goldblum) soon tells her that if things don’t turn around immediately, the show is gone.

Her only respite is her romantic relationship with Adam that has blossomed since she arrived at IBS but even that is in jeopardy as she feels that she has to constantly apologize for doing her job which is far from a 9 to 5 affair. Can she rescue a show that is sinking in spite of her best efforts?

I think we all know the answer to that. This is a bit of unrepentant fluff that isn’t out to reinvent the wheel, and that’s okay. Director Michel, whose Notting Hill remains one of the better romantic comedies of the past decade, knows how to get the best out of his actors and so he does here.

McAdams has oodles of potential but hasn’t gotten the role that will put her over the top just yet, and she’s still waiting. She has a terrific smile, awesome personality and great screen presence. She carries this movie as surely as a Julia Roberts or Amy Adams would; she’s moving into that elite set of company.

As he’s gotten older, Ford has made a career out of playing grumpy men. Here he takes it to a new level, making Mike Pomeroy an absolute prick but one that has enough at his core that we can’t dismiss him summarily as simply a jerk. That complexity keeps the audience from being turned off by him as we might ordinarily.

Keaton is one of the finest comedic actresses of all time. This won’t go down as among her finest work but it is solid nonetheless. Colleen is prickly enough to have an edge but she’s a trooper for her show and as the one out on the firing line of a show that is perennially in last, it is easy to see that the stress has taken its toll.

This isn’t a movie that has a lot of laugh-out-loud moments, but consistently evokes grins and even a few guffaws. It’s the charm of McAdams and of the ensemble in general that keeps this from becoming too much like a stage farce which at times it feels like it’s about to degenerate into. Again, there’s nothing extraordinary or new here but if you are looking to feel better about life in general, this is the perfect tonic for the troops.

REASONS TO GO: The leads are all pros and tackle their parts nicely. Not really laugh out loud funny but charming enough to keep the audience invested.

REASONS TO STAY: A little bit rote in places, and sometimes has the feel of a stage play farce.

FAMILY VALUES: There’s a bit of sexuality and some crude language here and there but otherwise suitable for teens and older.

TRIVIAL PURSUIT: The movie was co-produced by veteran television producer J.J. Abrams (“Lost,” “Alias”).

HOME OR THEATER: There is nothing here that screams “big screen;” you’re probably not going to miss anything by seeing it at home.

FINAL RATING: 6/10

TOMORROW: The Great Buck Howard

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