La gloire des ondes

Rachel MacAdams tire son épingle du jeu mieux que ses aînés, grâce à un personnage d'ambitieuse dessiné avec nuance, que la mise en scène vivante de Michell sait mettre en valeur.

Dire du scénario de Morning Glory qu'il est minimal est un euphémisme. Et ce n'est d'ailleurs pas le seul élément de ce nouvel essai de Roger Michell (pourtant réalisateur de Notting Hill) que l'on sent conçu avec une politique du moindre effort.

So goes the lesson in Roger Michell's Morning Glory, a tepid romantic comedy with screwball ambitions that never seem to blossom. It's a frustrating stutter in style and execution because so much of what's up there on the big silver screen is so charming - maybe, even too charming.

L'ensemble se révèle plutôt amusant, grâce surtout à une distribution de toute première classe.

The Hollywood comedy formula gets a bad reputation, but that's only because it's so often done poorly. When a movie sticks to the status quo and does it right, hitting the story beats you're expecting with wit and grace, it can feel as thrilling as watching something wholly original, like seeing a trapeze artist land on a platform you knew she'd reach all along.

Minor flaws aside, Morning Glory is still well-worth seeing for McAdams, who's charming, adorable, and most importantly likable.

For all its on-air talent and parody-rich subject matter, Glory's approach is too broad and facile to save it from a brief run.

Morning Glory, a passably amusing romantic comedy with a laugh-strewn script that's almost undone by the hard sell of an enterprise that drills every emotional beat into your head, an approach that suggests that the filmmakers see their audiences less as viewers with thinking brains and more as patients with thick skulls.