The CGI animation in the long awaited Shrek might be state-of-the-art, but the comedy is strictly pre-Stooges. At least half a dozen flatulence and poop jokes percolate through the opening credits alone. Far be it from me to poo-poo a good fart joke, but there is an art to these things, and in Shrek they just sit there.

Based on the classic, if slender, children’s book by local author William Steig, and directed by Andrew Adamson and Vicky Jenson, this is an anti–fairy tale about an ugly green ogre named Shrek who just wants to be left alone. Voiced by Mike Myers in a kind of Scottish-burred Fat Bastard mode, Shrek has charm but not much good material. He’s stirred to action when the local princeling, a horizontally challenged jerk named Farquaad (John Lithgow), decides to cleanse the enchanted forest of all supernatural beings. This may be the most comedically inspired part of the film, as Farquaad rounds up the Seven Dwarfs and interrogates the Ginger Bread Man and Pinocchio. They all flee to Shrek’s place, and he, in order to get rid of them, agrees to Farquaad’s demand that he rescue Princess Fiona (the irrespressibly sunny Cameron Diaz) and bring her back for Farquaad to wed. Joining Shrek in his quest is his relentless sidekick Donkey (an overzealous Eddie Murphy), who quickly wears out his welcome.

Everything ends happily ever after but, to the film’s credit, not necessarily as you might expect. This might also be the only animated epic with a Leonard Cohen song ( " Hallelujah " ) on the soundtrack. And the effects? There are some spectacular landscapes plus an impressive and surprisingly charming dragon, but I’ll still take Snow White any day. I find that the lifelike CGI animation makes humans look creepy and creepy inhumans look endearing. In the end, except for the obligatory fart jokes, maybe that’s Shrek’s point.