Dwayne Johnson in G.I. Joe: RetaliationG.I. JOE: RETALIATION

If you handed a box of crayons to a group of eight-year-olds with action figures, they'd probably come up with a more entertaining storyline for G.I. Joe: Retaliation than the one we're stuck with, which is your standard blockbuster nonsense about a megalomaniac's plan for world dominion and the crack team of well-armed, quip-ready hotshots attempting to thwart him. In a welcome surprise, though, director Jon M. Chu's follow-up to 2009's G.I. Joe: Rise of the Cobra is, unlike its forebear, quite a bit of zippy, throwaway fun, a fast-moving and happily unpretentious diversion with jokes, and good ones, obviously written specifically for viewers well over the age of eight.

Viola Davis, Alice Englert, and Alden Ehrenreich in Beautiful CreaturesBEAUTIFUL CREATURES

As it concerns a sensitive high-schooler who enters a world of trouble after falling for a moodier version of Sabrina the Teenage Witch, it should come as no shock to learn that the supernatural romance Beautiful Creatures is based on the first in a series of popular young-adult novels. But while I'd never argue that the YA-lit genre is completely humorless, surely the gender-reversed Twilight knock-off by co-authors Kami Garcia and Margaret Stohl can't be as legitimately, intentionally hilarious as this big-screen adaptation, right?

Sally Field and Daniel Day-Lewis in LincolnLINCOLN

Steven Speilberg has never directed a talkier movie than his presidential biopic Lincoln, and only on rare occasions, it seems to me, has he directed a better one.

Elizabeth Banks and Jennifer Lawrence in The Hunger GamesAs you're probably aware, director Gary Ross' The Hunger Games is the movie version of the first in a trio of wildly popular young-adult novels by author Suzanne Collins. And perhaps the highest compliment I can pay the film, among the many compliments it deserves, is that unlike with the Harry Potter and Twilight screen adaptations, at no point are viewers such as myself punished for being too blasé or lazy to have read the book.

Kristen Stewart and Robert Pattinson in The Twilight Saga: Breaking Dawn - Part 1THE TWILIGHT SAGA: BREAKING DAWN - PART 1

We're now four films into the five-part series of Stephenie Meyer adaptations, and The Twilight Saga: Breaking Dawn - Part 1 is the first one that I wouldn't hesitate to call unpredictable. As someone who couldn't care less about the tortured love triangle involving the human Bella (Kristen Stewart), the vampire Edward (Robert Pattinson), and the lycanthrope Jacob (Taylor Lautner), I was confident that this moody romance would perk up with an added dash of Rosemary's Baby, once the now-married Bella found herself pregnant with Edward's child. (So the undead have living sperm, then?) But how could I have guessed this would be the exact moment that, at least for me, the movie stopped being interesting?

Robert Pattinson and Kristen Stewart in The Twilight Saga: Eclipse

THE TWILIGHT SAGA: ECLIPSE

At roughly the halfway point in The Twilight Saga: Eclipse - the third of four books (and eventually five movies) in author Stephenie Meyer's frighteningly popular series - we're given a flashback that details the vampiristic recruitment of Rosalie (Nikki Reed), a character constricted to the sidelines in previous Twilight installments. Set in what looks to be 1920s or '30s America, the brief sequence finds this pretty blond-turned-bloodsucker exacting revenge on her hateful fiancé while sporting a wedding gown and a nightmarish grin, and it's a total kick; several scenes later, another enjoyable flashback shows us how the similarly undeveloped figure of Jasper (Jackson Rathbone) joined the ranks of the undead while performing a heroic service during the Civil War.

Taylor Lautner, Kristen Stewart, and Robert Pattinson in The Twilight Saga: New MoonTHE TWILIGHT SAGA: NEW MOON

Like last November's film version of Stephenie Meyer's Twilight, this November's follow-up, the helpfully titled The Twilight Saga: New Moon, is a mostly dour affair, a vampire tale less concerned with blood-letting than with the pain of teenage heartache, romantic longing, chastity, and maudlin acoustic ballads. That's why, despite some occasional levity, it's a shock to find director Chris Weitz's movie boasting not one but two absolutely outstanding jokes.