When people look back on 2010 they'll remember the big blockbusters like
Toy Story 3 or
Iron Man 2. We'll still be talking about
Inception or
The Social Network. We'll keep obsessing over the inevitable award winners like
Winter's Bone or even perhaps
The King's Speech. You'll geek out with your friends about that night you went to see
Tron: Legacy or force sure to be cult classics like
Scott Pilgrim vs. the World on your buddies. Those movies, in one way or another, captured your attention.
Yet maybe you missed something. In a better world maybe we should have noticed these movies too. Maybe we should have actually shown up to see them. Maybe we should have been talking about them. These are the movies nearly everyone overlooked; good movies which somehow not nearly enough people saw, no one championed, and in some cases studios didn't even bother to market.
This isn't a list of critically acclaimed indies which didn't do well at the box office (they've already been endlessly championed, they had their shot), or films with huge fan followings which couldn't get anyone else to turn out (sorry
Kick-Ass). Nor is this a list of movies which flopped at the box office but seem destined for cult success. These movies simply fell between the cracks and never really found the audience they deserved. When you're thinking back on this, you won't think of these films, but maybe you should. Consider giving these movies a second chance. Violent and strange, funny and endearing, gritty and sexy; they're the most unfairly overlooked movies of 2010.
Morning Glory
Morning Glory is probably best described as a peppy little movie and maybe it's the fact that it's so much fluff which kept anyone from taking it seriously enough to notice its existence. Fluff it is, but it's pretty good fluff. Rachel McAdams stars as a TV morning show producer driven to make her career through sheer effort and determination. She ends up paired with a cranky uncooperative newsman played by the seemingly permanently crotchety Harrison Ford. In another movie the story would end with McAdams' character realizing that she doesn't need a career so much as she needs a man, or some equally sexist, bullshit claptrap. Luckily this isn't a Katherine Heigl movie. Ford is delightfully unpleasant throughout, it's easily the best work he's done since 1997's
Airforce One. McAdams is, well,