If Hollywood decides to do a remake of Grumpy Old Men in about 10 years, let me present you with the ideal candidate to fill one of the lead roles: Harrison Ford.

Ford has always been known for bringing a playful sense of arrogance to his wide array of colourful characters, but as veteran news anchor Mike Pomeroy in Morning Glory, he takes surliness to a whole other level, and it's an absolute blast to watch.

Pomeroy is described by one television producer as the third worst person on the planet, but, quite frankly, it's hard to blame him for being so fed up with everyone and everything around him. Pomeroy, a well-respected Peabody winner who once pulled Colin Powell from a burning Jeep and laid a cool wash cloth on Mother Teresa's forehead during a cholera epidemic, is forced to headline the struggling morning news show 'Daybreak' when a loophole is found in his contract.

Having a job in front of the camera would be a dream for most people, but Pomeroy has strict morals and will not do anything he thinks is beneath him. He only believes in reporting on hard-hitting stories that make a difference, so whenever he is asked to do an inconsequential fluff piece he pouts around the office like a bratty young kid who doesn't get their way.

Pomeroy could have merely been a one-dimensional character with his constant grunts, groans and eye rolls, but Ford supplies the Dan Rather-type newscaster with so much depth that he's not just an insufferable curmudgeon. With Ford's excellent portrayal, we always know exactly what's on Pomeroy's mind and we're never left to question his motives. He's not irritable just to be irritable. He has a perfectly good reason to be the way he is and Ford helps us feel his pain.

But the thing that really makes Pomeroy so memorable is his dry and sarcastic demeanour, which Ford nails flawlessly. The words that spill out of Pomeroy's mouth are almost always harsh and unpleasant, but with Ford's delivery, they are also genuinely funny. Unlike the Incredible Hulk, you will like it when Pomeroy is angry.

Ford makes Pomeroy the kind of character you could build a whole movie around, but apparently director Roger Michell (Notting Hill) and screenwriter Aline Brosh McKenna (The Devil Wears Prada) don't share my way of thinking. Instead, they put the shining spotlight on Becky Fuller (Rachel McAdams), an up-and-coming producer who is hired to revive the understaffed and underfunded Daybreak, which is on the verge of being cancelled.

I guess I can see why Michell and McKenna went down this avenue because it's pretty fascinating to see some of the things that happen behind the scenes at a major network morning show, but Becky is so neurotic, persistent and perky that it's difficult to take her in anything but smaller doses. (She talks about herself and her job so much that some guys can't even make it through an entire dinner with her.)

It would be one thing if she actually evolved as the film moved along, but Becky, who always has her hands on her Blackberry and her eyes scouring the television for breaking news, has barely any character arc at all. She's obsessed with her work as the film opens and she's obsessed with her work as the closing credits hit the screen. The only real change that occurs in Becky's life is her new found ability to start a meaningful relationship with a guy (Patrick Wilson), but even that's a daily struggle. (At least McAdams is so charming you won't want to see Becky jump off a cliff or trade places with the hysterical passenger in Airplane! who gets slapped around by a line full of people. Seriously, McAdams deserves some kind of an award for making Becky somewhat endurable.)

However, as poorly written as Becky is, the same cannot be said about the movie's secondary characters. Matt Malloy is tremendously hilarious as the weatherman who is put through stomach-twisting stunts to improve ratings, and in his few brief scenes, Ty Burrell of TV's 'Modern Family' kills it as the initial male anchor of Daybreak who has a creepy foot fetish.

But aside from Ford's Mike Pomeroy, the most humorous character of all is the shows co-host Colleen Peck (Diane Keaton), a former Miss Arizona who will do anything to keep her job, even if it means kissing frogs or tussling with gigantic sumo wrestlers. Colleen might be a beaming peach on-screen, but as soon as the cameras stop rolling or Pomeroy gets in her way, the gloves come off and the results aren't pretty. (Their antics can get a bit childish, but the verbal sparring between the two provides the film with its greatest number of laughs.)

You also have to give some amount of credit to McKenna for creating an often times entertaining spoof of the news industry, but that doesn't excuse her for making the ending of Morning Glory so predictable and cloying that you might have trouble keeping your lunch down. And to make matters worse, McKenna's screenplay doesn't really have anything important to say. Morning Glory could have been used as a platform to examine the differences between news and entertainment and how they help shape the world, but McKenna carelessly glosses over these details, which causes the film to feel like a hollow shell.

So, in a way, Morning Glory actually has a lot in common with the rise 'n shine programs that are infesting our television sets on a daily basis: They're both light hearted, breezy and full of amusing personalities, but when it comes down to it, they also lack a substantial amount of weighty substance.