Recent films of revved-up adrenaline are like movies on steroids, and cause some of the same side effects: nausea, stunted growth and probably some liver damage. George Tillman Jr.’s film begins with Dwayne “The Rock” Johnson’s character literally sprinting out of jail, released in a seething rage from a 10-year prison sentence. The movie is in such a hurry that it doesn’t bother to slow down for proper names, instead referring to its main characters as archetypes: Johnson is “Driver,” Billy Bob Thornton is “Cop” and newcomer Oliver Jackson-Cohen is “Killer.” Driver has a list of people to kill in revenge of an ambush that put him in jail and ended the life of his brother. After dabbling in comedy and kids films, Johnson has returned to macho action, like Arnold Schwarzenegger’s prodigal son. Johnson has the muscle for muscle-head movies but — a gifted mugger — he’s better dressed up as the Tooth Fairy or hosting “Saturday Night Live.” His inner goofball should win out. R for violence, some drug use and language. 98 minutes.

GRADE: * * (out of 5)Jake Coyle,The Associated Press

‘The King’s Speech’This is the kind of handsomely photographed, weighty-yet-uplifting period drama that seems to arrive amid great fanfare come awards time each year. It’s based on a true story about British royalty, features a glittery cast and hits every note you expect it to hit. And yet the film is so flawlessly appointed and impeccably acted, you can’t help but succumb. If you can get past the nagging sensation that what you’re watching is a cynical calculation to appeal to the Academy, well, you’ll be delighted, because the “The King’s Speech” is undeniably charming. Director Tom Hooper and writer David Seidler give the people what they want: This is high art for the masses, but you could also look at it as familiar fare that’s been gussied up. At times it feels like no less of a mismatched-buddy comedy than the Todd Phillips road-trip flick “Due Date,” although the opposites who initially clash and eventually cling to one another are played by the esteemed Colin Firth and Geoffrey Rush. Firth, functioning as the Robert Downey Jr. figure, is arrogant and uptight as King George VI (father of Queen Elizabeth II), who’s struggled all his life against a debilitating stutter; Rush, in the Zach Galifianakis role, plays speech therapist Lionel Logue, who persuades the priggish royal to loosen up with his unorthodox methods. And there’s even a climactic deadline they have to make: The king, or “Bertie” as Lionel calls him to his great annoyance, must deliver a radio address to unite and inspire his people as the country stands on the brink of World War II. R for some language. 118 minutes. <B>GRADE: * * * * (out of 5).<I>Christy Lemire,</B>The Associated Press</I>

Despite its dramatic pretenses and far racier sex scenes than the typical studio romance, Jake Gyllenhaal and Anne Hathaway’s latest is as predictable and sappy as any other run-of-the-mill Hollywood love story. Gyllenhaal and Hathaway, who co-starred as an unhappily married couple in “Brokeback Mountain,” this time play the bumpy romance between a hotshot pharmaceutical salesman and a woman with early onset Parkinson’s disease. Co-written by director Edward Zwick, the screenplay shoves the two together awkwardly — and keeps them coming back together even more awkwardly — undermining the easy, genuine sense of affection and passion the stars manage. But awkwardness seems to have been there from the start in adapting Jamie Reidy’s book “Hard Sell: The Evolution of a Viagra Salesman,” which was not a romance at all. While Gyllenhaal’s character is inspired by Reidy, Hathaway’s is a complete fabrication — a love interest dreamed up so the filmmakers could have a love interest. R for strong sexual content, nudity, pervasive language and some drug content. 112 minutes. <B>GRADE: * * ¹⁄₂ (out of 5).<I>David Germain,</B>The Associated Press</I>