Reviews provided by RottenTomatoes
It is what it's about - kissing frogs for ratings, entertainment that panders to the lowest common denominator.
New York Times:
McAdams plays her role exceptionally well: as the young actress on the verge of the big time, who can win the boy, tame the beast, flash her panties and make you smile without making you cringe, she is a natural.
This charmless movie thinks it can soft-sell its date-night love story and its media meta-jabs without people feeling they've been bamboozled on either count. To which we can only say good night, and good luck.
New York Magazine/Vulture:
Morning Glory isn't terrible. It has a lot of craft, a lot of star power, and a fair number of laughs. What irks me is that the filmmakers settle for so little.
Wall Street Journal:
This production is a mess for many reasons, most of them having to do with its frantic efforts to be funny.
Morning Glory" is undeniably enjoyable as it bounces along in its messy way -- Michell, bless him, keeps the pace snappy -- but you just wish it were a little smarter.
The message of Morning Glory -- that austere TV journalists could stand to lighten up a bit -- may be dubious, but Michell and his cast sell it persuasively.
It's a slight movie that makes Broadcast News look like All the President's Men in comparison.
The movie's a pleasant and occasionally hilarious ride, even if there's a bait-and-switch at its core.
An old-fashioned comedy that respects brains, ambition and, as McAdams' anchor dubs, her "repellent moxie."
J. R. Jones,
McAdams is typically effervescent here, but she can't rescue this weak comedy.
Dallas Morning News:
A Hollywood movie doesn't need to serve as media criticism. But don't serve yesterday's news, pretend to treat it as vital and then turn it into a mere bauble.
Morning Glory is ultimately something of a morning news show version of a morning news show -- perky, jerky, chit-chatty and polished. And eminently, pointedly, forgettable.
Ford is still a magnetic hunk of gray-granite movie star, and in Morning Glory, he finds a way to trick up his deadly somber, shifting-quicksand delivery into a shrewd and amusing acting style.
Eric D. Snider,
Everyone involved here is operating well below his or her skill level.
It's glossy, moves quickly enough and has a few enjoyable personalities. Maybe the intermittent laugh. But afterward you realize it tried to cram a whole lot of vapid stuff into one compact time frame.
Los Angeles Times:
McAdams' performance is worth the price of admission, but a resolution as satisfying as her work is not to be found.
Ford was funnier in Extraordinary Measures than he is here, and that was a movie about terminally ill children.
Everything in this movie, written by Aline Brosh McKenna and directed by Roger Michell, seems way off.
New York Daily News:
Ford is the most casual he's been since Working Girl. When he and McAdams spar, you can't help but tune in.
New York Post:
It includes more than a few clever lines, and boasts a stellar cast, including the underutilized Diane Keaton.
Despite the conventional manner in which the story is resolved, Morning Glory generates enough entertainment, good will, and genuine laughs to make it hard to dislike.
Morning Glory is a funny entertainment to begin with, and then Rachel McAdams transforms it. And Harrison Ford transforms himself.
Morning Glory is a tart, terrific comedy that gives Harrison Ford his best and funniest role in years.
This is a brash, lightweight backstage comedy that looks lovely, doesn't insult its audience and uses its stars, both young and old, to terrific effect.
St. Louis Post-Dispatch:
Mainstream moviemaking at its most proficient, with a zippy script, comfort-food casting and a breakout performance by a deserving star.
Globe and Mail:
The movie does show some welcome wit as it satirizes the idiocies of morning TV -- until it starts repeating itself in the second half.
It doesn't pay to have a good memory or high standards when appraising Morning Glory, a fitfully amusing broadcast satire that unfortunately invites comparisons to sharper times and pens.
[McAdams's] Adorability Quotient is off the charts. If being ingratiating is a crime, she'd be shot at sunrise. But this good nature doesn't seem forced.
This just in: Morning Glory can't decide whether to skewer the morning news or wallow in its pap.
A genially midrange if overlong romantic comedy.
The only love Morning Glory truly cares about is the passionate but sexless amour fou between a girl and her work.
Has moments of sparkle, but the screenplay disappoints and the luminous Rachel McAdams overdoes it.