Morning Glory is that rarest of treats, an American comedy which is actually funny thanks to a witty script and an energetic lead performance by Rachel McAdams.

McAdams has long been climbing the ranks since her breakthrough turn as the bitchy Regina George in Mean Girls, and it is in Morning Glory that we fully see the extent of her many attributes – funny, sexy, endearing – in what just might be her best role yet.

McAdams stars as Becky, an optimistic, career driven young woman who dreams of becoming producer of premium morning variety program the Today Show. Yet the only way to the top is to start at the bottom, which is exactly where Becky finds herself when she takes on the role of executive producer of the lowly rated morning show Daybreak.  

Those who watch morning shows can testify to the horror it produces, with its 3 hour dreg of infomercials, wacky weathermen, and egotistical anchors.

It is exactly that last element which will test Becky’s mettle, as she juggles the egos of her feuding co-hosts Collen Peck (Diane Keaton), the loyal and equally frustrated TV personality willing to do what it takes to get the job done (including a duet of Candyshop with 50 Cent), and Mike Pomeroy (Harrison Ford) the hard hitting news journalist contractually obligated to his job.     

Ford surprises in a supporting role which see’s the infamously grumpy actor play his cranky self with a mix of cold hearted bastardry and low key comedy, barely raising his gravelly voice yet dispensing the one liners with ease, in what is one of his best performances in years.

The trade in bitchiness between Ford and Keaton is a highlight, coming off like a middle aged version of Anchorman sans moustache and much more intelligence (yet not nearly as many laughs).

Scripted by Aline Brosh McKenna (The Devil Wears Prada) and directed by Roger Michell (Notting Hill), this is a film which makes good use of its talent on and off the screen, yet that doesn’t stop many generic conventions associated with the rom-com genre from creeping in now and again (forced sentiment, use of cliché pop song etc).

Yet its witty banter and likeable performances makes up for its generic elements. Good laughs are found here, and in Rachel McAdams a little spark plug of a performer worth watching.