Ewan McGregor, Johnny Lee Miller, Ewen Bremner and Robert Carlyle return for Danny Boyle's sequel to the cult classic Trainspotting.
New TV producer Becky Fuller (Rachel McAdams) tries to get jaded presenters Mike Pomeroy (Harrison Ford) and Colleen Peck (Diane Keaton) to work together to co-anchor a lightweight breakfast show
Becky Fuller (Rachel McAdams) is that rare creature in movieland - a woman who is good at her job and focussed on her career, but not painted as a freak and/or a complete disaster with men. There's a romantic subplot, but the main thrust of Morning Glory, so to speak, is on whether Becky can resolve difficulties in the office, not the bedroom (something that instantly elevates it above the likes of Sex & The City, where four apparently successful women devote most of their time to fretting over men).
Rachel McAdams has never yet found a script to quite match the lemon-sharp zing of her breakout role as bitchy queen bee Regina George in Tina Fey's Mean Girls, and Morning Glory is not the film to break that trend. As a chipper but put-upon new TV producer, she brings her A-game, but the gags rarely let her truly hit the high notes.
The old guard are represented by Harrison Ford and Diane Keaton, who can do this sort of thing in their sleep, and while reviews comparing Morning Glory to golden age screwball comedy seem a little hyperbolic, it's certainly an improvement over rom-coms like Love & Other Drugs, Killers or The Back-Up Plan.
Sit-com style zany comedy that won't exactly change your life, but has the odd good joke and proves Rachel McAdams well capable of carrying a film, even opposite Harrison Ford and Diana Keaton
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