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Morning Glory: movie review

'Morning Glory,' with Rachel McAdams as a plucky TV producer, is a romantic comedy that plays to the dumbing down of network news.

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In this film publicity image released by Paramount Pictures, Diane Keaton, left, and Harrison Ford are shown in a scene from " Morning Glory."

Macall Polay/Paramount Pictures/AP

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Becky Fuller (Rachel McAdams) is a plucky, newly hired workaholic producer for “Daybreak,” the lowest-rated national morning TV show. The show is so bad that it’s a punch line in TV land – a sick joke.

Morning Glory” is about how Rachel pulls the show out of the basement by, you guessed it, dumbing it down ever further into imbecility. This might be an acceptable premise for a comedy except for one thing: The filmmakers endorse the imbecility. “Morning Glory” is a tribute to low standards and high ratings – just the sort of thing Hollywood can get firmly behind.

I realize this movie is, essentially, cotton candy, but it has an acrid aftertaste. Becky, a human whirligig epoxied to her BlackBerry, is portrayed as a vivacious sprite. Her anything-for-ratings ambition is supposed to be, well, cute.

Her big move comes when she pairs the morning show’s longtime, long-suffering host Colleen Peck (Diane Keaton) with curmudgeonly blowhard Mike Pomeroy (Harrison Ford), the network’s resident hard-news legend who has been sitting out his contract after being shifted out of his evening anchor spot. These cohosts despise each other. While Colleen is willing to don a fat suit and tussle on air with a sumo wrestler, the grave-faced Mike, who has won every journalism award known to man, won’t even do one of those obligatory cooking-class segments. (He won’t even utter the word “fluffy.”)

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