The makers of Morning Glory made one mistake. That’s a pretty impressive feat in the field of rom-coms and especially high praise given my recent disparaging reviews of almost everything in this genre. And that mistake was trying too hard to push the rom and ending up neglecting the com. At the heart of this film is an interesting, modern set-up that could have been a The Kids Are All Right Lite, but instead ends up being extraordinarily good natured, but a little bit flaccid in all the places it shouldn’t be.
Rachel McAdams has the extraordinary ability to light up any scene that she’s in and she utilises this unique gift fully here. It stretches credulity somewhat to have a succession of men not be remotely interested in (just because she’s a ‘work freak’) but all in all her dippy post-grad character works well (certainly better than Alexis Bledel in…um, Post Grad). So what’s the problem you might ask? Well, let me tell you what it isn’t. It isn’t Harrison Ford (on cantankerous overdrive) or Diane Keaton, who roll back the years in terms of getting fun/Hollywood roles. It isn’t Jeff Goldblum who does wonders with an underwritten role. It isn’t even Patrick Wilson, although we’re pretty much there.
The story is a love story, but it’s a love story between McAdams, Harrison Ford and TV. But clearly the producers were too worried that this wouldn’t sell that they had to concoct and abortive love story between McAdams and her smokin’ hot fellow producer that never really gets off the ground. It’s as if she knows that this isn’t what the film’s about and therefore only gives it half her attention. The morning news scenes with Ford and Keaton zip and zing, whereas the romantic scenes are as cold as her Blackberry (she puts it in the fridge. Repeatedly).
Possibly the second best rom-com of the year behind Going the Distance, this just missed its mark by over indulging in genre demands. Good but disappointing all the same.