Tuesday, February 7, 2023


November 12, 2010 by · 1 Comment 

Critics suggest that Morning Glory is more sitcom than nightly newscast even though its set in the world of broadcast news — morning news. “Comedies open every week,” writes Roger Ebert in the Chicago Sun-Times. “This is the kind I like best. It grows from human nature and is about how people do their jobs and live their lives.” Most critics are giving high praise to the performances of Harrison Ford as a fractious veteran anchorman on the brink of retirement, Rachel McAdams, as the newly hired executive producer of his show, and Diane Keaton as his co-host. It is inevitable that they — and the movie — are being compared, unfavorably in every case, with the classic Broadcast News, which in 1987 won seven Oscar nominations (but won none). “Broadcast News this ain’t, and forget about Network,” Ty Burr comments in the Boston Globe. “Still, the movie’s a pleasant and occasionally hilarious ride.” In the New York Post, Lou Lumenick writes, “It may lack the edge of Broadcast News, but this unofficial update on the news-vs.-fluff wars does get in some good shots at the wacky world of morning television.” But in the Dallas Morning News, Chris Vognar remarks that unless you’ve never seen Broadcast News, “the whole thing feels like a copy of a copy.” And Joe Morgenstern concludes in the Wall Street Journal: “Morning Glory turns the dubious trick of trivializing trivialization.”