Becky (Rachel McAdams) is part Anne Hathaway (Devil Wears Prada) and part underdog who won’t take any knocks. She’s eager to please her bosses, and works long hours at a small time New Jersey morning show. Fast forward when NY’s IBS morning show gives Becky a call from a big producer (Jeff Goldblum) about a position with even less pay, lower ratings and morning meetings that begin late…5 a.m. But she takes it. And she’s about to take the grief that comes with it from TV diva, Colleen Peck (Diane Keaton) a generic Diane Sawyer, and Mike Pomeroy (Harrison Ford) a veteran reporter whose bigger than Dan Rathers and Tom Brokaw combined. McAdams is adorable with her non-stop bubbly energy. A sort of Pollyanna who believes her new show “Daybreak” needs somebody to believe in it. And believe in her. Ford feels like a past character he played in Sabrina – Linus Larrabee – egotistical, workaholic, and just plain obnoxious. The movie’s message is that we’ve become a world where our ridiculous perspective is baking brownies with Celine Dion instead of worrying about world wars and breaking news. What’s more important to us: News or entertainment? Or entertaining news? There’s a moment in the film, outside of the 21 Club in New York where I wondered if an everyday audience will be able to relate to this very inside story of the media world’s daily mechanics and production struggles. Roger Michelle has brought us movies like Notting Hill and Enduring Love, yet in directing Morning Glory he feels more Mike Nichols (Working Girl) or Sydney Pollack (Tootsie.) Three and a half tiaras
