Morning Glory showcases the comedic (and romantic) talents of two cute couples of different ages--Harrison Ford and Diane Keaton (never sparklier) and the adorable Rachel McAdams and Patrick Wilson. Love can bloom, no matter what time of life, or, as the setting of Morning Glory underscores, no matter what time of day. McAdams is excellent and darling as an ambitious TV producer who vows to turn around a sinking morning TV news show by bringing in a heavyweight anchor (Ford) to pair with the lighthearted, deft Keaton. But Ford wants none of the "news lite" that morning shows need to surface, so sparks fly between the bickering co-anchors almost immediately. Happily, Ford is easier in his skin in Morning Glory than he has been in some of his past romantic efforts (Six Days Seven Nights), so he and Keaton play off each other easily and believably. In a parallel story, McAdams's Becky is pursued by Wilson's Adam, which takes Ms. Focused Career Girl (if not the viewer) by surprise. The direction by Roger Michell (Notting Hill) is crisp, although the script by Aline Brosh McKenna (The Devil Wears Prada) isn't particularly funny. (Adam thinks Ford's character, Pomeroy, is the "third worst person in the world," after Kim Jong Il and… Angela Lansbury.) But the world of TV news portrayed in Morning Glory is as immersive as it is in Broadcast News, and the romantic subplots truly are romantic. There's love in the air--and on the air--in Morning Glory. --A.T. Hurley