Barry Pepper, Susan Sarandon, and Dwayne Johnson in SnitchSNITCH

As a film star, Dwayne Johnson possesses a lot of gifts - or, at least, sufficiently impressive gifts for what his résumé has required. Though God knows he's physically intimidating, Johnson is also our most thoroughly genial of ass-kickers, with even his most violent of big-screen endeavors leavened by a welcome lightness of touch and hint of amused self-mockery. And as he has proved in all those bland family entertainments over the years, Johnson still manages to appear game and committed in movies that don't deserve his considerable charisma, often salvaging entire scenes through unexpectedly silly gestures or readings that show just how inventive a comedian he can be. (I was happy for 10 whole minutes following his brief channeling of co-star Michael Caine in Journey 2: The Mysterious Island. They were about the only 10 minutes during the movie in which I was happy.)

Fran Kranz, Chris Hemsworth, and Anna Hutchison in The Cabin in the WoodsTHE CABIN IN THE WOODS

Hollywood's been leading toward it for decades, and with the blithely enjoyable, exceedingly clever The Cabin in the Woods, it's finally happened: A movie has been released in which practically everything about it - its plot, its twists, its performers, its characters, its themes, its jokes - could be considered a spoiler.

Bradley Cooper in LimitlessLIMITLESS and THE LINCOLN LAWYER

At some point during my double-feature of Limitless and The Lincoln Lawyer, I was reminded, as I frequently am, that we filmgoers don't really need more great movies from Hollywood. We just need more good movies - smart, strong, satisfying releases that only want to entertain, but manage to do so without attempting to overwhelm you, or demanding that you first check your intelligence at the auditorium door.

Shrek Forever After

SHREK FOREVER AFTER

Has there ever been a cinematic storybook adventure - to say nothing of an animated, comedic one - as profoundly joyless as Shrek Forever After? It's not just that the subject matter for this latest, potentially last, and certainly least of the Shrek series concerns middle-aged dissatisfaction and inertia, themes that aren't exactly conducive to lighthearted escapism. The bigger problem is that nearly everything about the film, from the plotline to the jokes to the voice acting, is lethargic and heavy-spirited, and that air of fatigue is likely intensified if, like me, you catch it in 3D, with the gray of your eyewear dulling the movie's already-pretty-dull color palette. From its opening beats, Shrek Forever After feels less like a follow-up than the grudging fulfillment of a contract obligation, and I left this third sequel feeling about 10 years older than I did before it began.

Jeremy Piven and James Brolin in The Goods: Live Hard, Sell HardTHE GOODS: LIVE HARD, SELL HARD

Assuming his talents haven't waned in the current, sixth season of Entourage, Jeremy Piven's bile-spewing Hollywood agent Ari Gold remains (as of season five) as corrosively entertaining as ever, and the Neal Brennan comedy The Goods: Live Hard, Sell Hard suggests that Piven's Gold routine could be just as enjoyable on big screens as small ones. It would certainly help, though, if the actor were given a few funny scripts to work with, or at least funnier than this shapeless, scattershot comedy about used-car hucksters trying to unload 211 vehicles over a long Fourth of July weekend.

Christopher Moynihan, Harry Shearer, Catherine O'Hara, and Parker Posey in For Your ConsiderationFOR YOUR CONSIDERATION

I love Christopher Guest's improvisational comedies with a passion bordering on mania, and he and co-scenarist Eugene Levy have been wonderfully consistent about treating fans to a new one every three years; 1997's Waiting for Guffman led to 2000's Best in Show and 2003's peerless A Mighty Wind. Now we have For Your Consideration, a skewering of the annual Oscar-derby madness, and I couldn't have been more excited about seeing it. So why, despite its many, many great moments, does reflecting on the director's latest leave me feeling disappointed, and a little depressed?

Eugene Levy and Catherine O'Hara in Best in ShowBEST IN SHOW

The genius of Christopher Guest lies in his belief that nothing is funnier than mediocrity. (He's the antithesis of Peter Shaffer's Salieri in Amadeus, who saw it as a tragic failure.) In his two finest cinematic efforts, This Is Spinal Tap and Waiting for Guffman, the performers examined in the "mockumentary" format - Tap's hard rockers and Guffman's thespians - were delightful because of their clueless self-satisfaction; they truly thought they were creating Art, or at least really kick-ass entertainment. And the joke blossomed every time we watched them perform their shows before audiences, because it turned out that these well-meaning hacks, while by no means terrific, weren't all that bad. They might have been lacking in talent, but their enthusiasm was infectious, and it made sense that their shows were hits. (God knows I've seen worse community-theatre productions than Guffman's Red, White, & Blaine.) Guest, who co-wrote both films and served as director for Guffman, was thereby able to poke fun at his characters and have you genuinely rooting for them at the same time.