Rating:  

Bad Robot and Paramount Pictures.

Written by: Aline Brosh McKenna.

More than a handful of films have been set in the land of television and the latest, “Morning Glory”, takes us behind the scenes of “Daybreak”, a mythical early morning talk show in New York City. Ranking a distant fourth behind Good Morning America, The Today Show, and to paraphrase one character, “whatever they happen to call that thing on CBS”, “Daybreak” is nearing an end to its perilous existence. The network, IBS, is loyal to a show they have broadcast for 47 years, but the time has come to consider other programming.

Enter Becky Fuller (Rachel McAdams), a young morning television producer who on the expectation of a promotion, finds herself laid off in a cost-cutting move. Desperate to find a job, Becky finds herself in the offices of IBS’ network chief Jerry Barnes (Jeff Goldblum). When Barnes informs her that she is not qualified for the Executive Producer’s role they are hiring for, Becky convinces him, with an impassioned plea, that she is more than capable and able to take on the duties of being “Daybreak”‘s new leader. Taking a chance, Barnes hires her and Fuller dives all in with her new role, believing her single, workaholic approach to things will carry her to success.

After firing a misogynistic co-anchor (Ty Burrell of “Modern Family”), Fuller meets Colleen Peck (Diane Keaton), the long-standing female anchor who has witnessed producer after producer and anchor after anchor depart. Colleen is understandably jaded and skeptical at the young Becky’s potential. Quickly earning the respect of her staff and in an effort to get the ratings up and obtain some much needed publicity, Becky seeks out the famed newsman Mike Pomeroy (Harrison Ford) to come on board. Bringing Pomeroy on board, however, offers up its own set of challenges as he is less than enthused at his new employment opportunity.

“Morning Glory” has a strong cast, moves along at an entertaining clip, and features a terrific performance from Rachel McAdams in the lead role. And then you have to look at the rest of the film. As a narrative, “Morning Glory” is a mess, with its timing and pacing inconsistent with its content. The film leaps forward and rushes through important connections amongst its characters, while slowing down for inconsequential detail. The film is as entertaining as it is frustrating and struggles to define why it exists.

While Rachel McAdams owns the movie and is the focal point of virtually every scene, we gain no sense of Becky’s motivations. She is dedicated to her craft and very skilled at what she does but why? Early on we find her mother (Patti D’Arbanville) telling her that her firing may be a sign that she finally needs to grow up – as if securing a job as a morning television producer is the equivalent of making a lifelong career of working minimum wage. Given merely one scene to define Becky’s relationship with her mother, are we to believe that her inner fire and drive is simply an effort to impress her mother? As presented, that seems a bit immature for such a strong female. Becky loves what she does too much for that logic fails to fit.

Becky opens the film on a first date, self-destructing the potential relationship by spending more time with her cell phone than her companion. Then later, she meets and falls for fellow producer Adam Bennett (Patrick Wilson), and as quickly as she falls for him, he is absent for much of the film. Then rather inexplicably, he returns, they fight and the romantic comedy cliche of breaking up before becoming lifelong lovers occurs. But, she states over and over that she doesn’t really have time for a man. So, if she really does want a boyfriend or partner, then why do we not see the relationship grow and develop in the story? I guess because “Morning Glory” is not a romantic comedy…or is it? Or does it want to be? I have no idea.

What’s most disappointing, save a poorly constructed screenplay by Aline Brosh McKenna (The Devil Wears Prada), is that the film wastes Rachel McAdams’ great performance. McAdams plays Becky as if she is constantly turning at different speeds on a spinaround carousel and conveys her varying emotional states better than as written. Harrison Ford’s gruff and insufferable turn as Mike Pomeroy is also enjoyable as Ford changes gears in portraying someone unique from anyone we’ve seen him play previously. The best sequence comes when Becky is faced with a do or die ratings ultimatum from her boss and proceeds to place her all-too trusting weatherman Ernie (a hilarious Mike Malloy) in a serious of news stunts including flying with daredevil pilots and testing out the local theme park’s new rollercoaster ride.

For a lot of people, “Morning Glory” will be absolutely acceptable as a movie to watch and enjoy. As I stated above, I was entertained by much of the film. However, my biggest gripe with a film of any genre is when it fails to know what it wants to be and lacks a purpose. “Morning Glory” is whimsical but has no desires in being a laugh-out-loud comedy. It has a romantic subplot but really has no interest in being a romantic comedy. The movie hints at dramatic elements with the characters, but is in no way a dramatic film.

So what is “Morning Glory” exactly? A brisk and fast-paced emotionally vacant viewing experience; ironically, not too different from the daytime television shows “Morning Glory” mocks and chides ever so gingerly.

Should I See It?

Written by the same screenwriter of another female executive perspective film, “The Devil Wears Prada”, “Morning Glory” will feel similar to that film’s tone.

Rachel McAdams continues to shine as an underrated lead actress. Her talent is unmistakable and she is quite fantastic throughout the film.

The movie is light and “fluffy” and might track enough charm with McAdams and Harrison Ford to mask the film’s considerable problems for a lot of viewers.

For fans of weekday morning talk television shows, the satire may be spot on.

For a lot of viewers, the film is too haphazard in its message to be considered good. Although it may be viewed as light and message-free entertainment, an argument I acknowledge, its foray into the deep and profound rings hollow.

Diane Keaton and Patrick Wilson are pointless in the film. They are terribly underwritten and have no depth to their characters. Mere plot devices.

While more mainstream and big studio films need to tell the strong female character story, Aline Brosh McKenna’s script cannot shake the cliches and contrivances of the female-lead films of the past.

With some of the film’s subplots left undeveloped and with large gaps in revisiting them, the film has a feeling of being re-cut and re-edited after the fact.