We wanted to like Harrison Ford's character in Morning Glory. He is the "old guard" in journalism, a man who absolutely hates the "fluff" news that so typically fills the hours of TV morning shows. But he makes it impossible for anyone to like him, right up until the end of the film, undermining any effort that might be made by anyone to side with him and hold a serious discussion about how to fix television news.
More likable, surprisingly, is Diane Keaton's character. Having given up long ago on ambitions of greatness, she is content to do the cooking segments and meaningless D-list celebrity interviews that are common on her network's morning show, "Daybreak."
But the story in this film is not about the success or failure of "Daybreak", nor is it even about the shallow romance that clumsily develops between Becky (Rachel McAdams) and Adam (Patrick Wilson), though in DVD rental stores it will undoubtedly end up on the romantic comedy rack. The story is really about the personal career ambitions of Becky. Rachel McAdams is absolutely likable from the start. In fact, she carries the film almost by herself. Sure, there are hilarious lines and a few other big stars sprinkled in, but remove McAdams and you've got a lot of nothing. This is especially evident when she interviews for the "Morning Glory" executive producer job, sitting across a desk from the man who might hire her (Jeff Goldblum).
We left the theater unsatisfied, feeling like so much more could have been done with this one. Much of the writing falls flat, and all of the relationships are underdeveloped even after two hours and plenty of opportunities. If someone asked us, we'd recommend watching it at home later, and saving your ten bucks of theater ticket money for another time.