For decades, "chick flick" has been a part of the American vernacular. Those feel-good movies that make us believe anything is possible. In Morning Glory, Rachel McAdams plays Becky Fuller - a spunky morning show producer. It takes less than five minutes to establish Fuller as an ambitious, if personally scatterbrained, workaholic. It's clear the script follows the same vein as, well, just about every female empowerment movie of the last twenty years. McAdams fires off stuttering, self-deprecating monologues with a speed that can only be considered exhausting.
The premise is fairly straight forward; instead of getting the expected promotion, Becky Fuller is laid off due to budget cuts. So she takes the only job she can get, as executive producer of a failing morning show. Thankfully, things pick up at this point, with the introduction of the supporting cast.
Harrison Ford, as an aging newsman essentially blackmailed into taking a co-anchor spot, is inconsistent at best. The one true high point of the film is Diane Keaton. Her determination to keep the show alive provides most of the film's positive moments.
At the core, the problem with Morning Glory is not it's predictability; many well-made films follow well trod paths. The real problem is that the film can't decide what it wants to be. With quick shifts between romantic comedy, to self-discovery story, and every stereotype in between, the script simply fails to find a nice.
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