November 9, 2013

Morning Glory (2010)

Rachel McAdams, Harrison Ford, Diane Keaton

I know this is probably an unpopular statement, but I don't really like Rachel McAdams. Sure, she did a good job in Mean Girls. And The Notebook. And I suppose, even The Vow. But here's the thing about those roles: they're all the same. She just played different variations of a snobby girl. And all of those roles could have been equally fulfilled by someone else. Even if you're a fan of her, you have to admit she's no Meryl Streep. 

Really, the only reason I watched this movie at all was because I had spent the previous day watching a marathon of Indiana Jones movies on TV and was feeling nostalgic over Harrison Ford and how he used to be awesome, so when this movie came on, I figured, how bad could it be? (Note to self: stop thinking this.) And I don't care what anyone else says, (What's the Story) Morning Glory from Oasis is an awesome 90's album. Which also led me to justify watching this movie, despite the album having absolutely nothing to do with the movie other than coincidentally sharing part of its title. (Note to self: if you can't think of a good reason to watch a movie, stop making up reasons to do so.)

The movie started out innocently enough - classic ambition, career-driven girl who works too hard at her job to find love who is somehow simultaneously always put together in her looks, but her personality is all over the map. (Note to self: find a rom-com that doesn't portray a successful woman as neurotic, quirky, or a general hot mess in creating and sustaining relationships.) Enter: Harrison Ford as the mean, unlikable guy who people respect because he's good at what he does and might secretly be a good guy underneath. (Note to self: just watch reruns of House on TV for this exact storyline.) Banter ensues. 

Aaaaaaaand that's pretty much the movie. I really don't need to elaborate or go any further because, well, you already know how it will end. All the characters are just endearing enough to make you somehow sit through the whole movie, despite knowing that it's lame. I guess that's why the producers spent $40M making it instead of casting Katherine Heigl and James Marsden for free because they're desperate to stay relevant. (Note to self: try and work in a reference to Katherine Heigl in every column.)

Final word: I think I even enjoyed 27 Dresses more than this.

Not to be confused with this album:

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