Friday, October 10, 10:05 a.m.-ish: My latest quartet of screenings starts with an adaptation of the beloved children's book Alexander & the Terrible, Horrible, No Good, Very Bad Day. It's a shame that the title has already eaten up about half my word count, because I now have far less space in which to rave about this surprisingly fantastic family comedy whose unforced cheerfulness is matched by its completely unexpected wit.

Patrick Wilson, Lili Taylor, Vera Farmiga, and Ron Livingston in The ConjuringTHE CONJURING

I was about halfway through my screening of The Conjuring when I noticed that I was having a most unusual reaction to director James Wan's haunted-house opus: For the life of me, I couldn't stop smiling.

Rachel McAdams and Channing Tatum in The VowTHE VOW

Even though I'm frequently annoyed, if not downright appalled, by them, I really don't ask a lot from traditional romantic weepies. If the actors involved share more-than-sufficient chemistry, and the film provides at least a decent amount of legitimate passion and pathos - with a few good jokes thrown in to keep the proceedings human - I'll generally feel that I've gotten my money's worth. And happily, I got my money's worth at The Vow. I'd hardly argue that director Michael Sucsy's love-among-the-mental-ruins effort is a good movie, but despite never being as interesting as it keeps threatening to be, this audience-friendly drama fulfills its basic requirements with the utmost sincerity and even something approaching wit.

InsidiousINSIDIOUS

It features every cliché in the haunted-house handbook. It borrows liberally from other, iconic horror movies. It's by the director of the original Saw and the slightly more bearable killer-mannequin flick Dead Silence. And for all of the momentary jolts provided by the loud bangs and shrieking violins on its soundtrack, the most shocking thing about Insidious is how irrationally good it is.

George Clooney and Vera Farmiga in Up in the AirUP IN THE AIR

Heading to Chicagoland on December 23, I spent the whole of my journey driving through a torrential and laughably unseasonable rainstorm, and the trek that normally takes two-and-three-quarter hours wound up taking close to four. Consequently, I missed out on dinner with my folks, arriving in town just in time to meet them for our planned evening screening of the new George Clooney movie.

Peter Sarsgaard, Isabelle Fuhrman, and Vera Farmiga in OrphanORPHAN

Director Jaume Collet-Serra's Orphan features that most indestructible and, oftentimes, luridly enjoyable of horror-flick staples - the psychopathic prepubescent - and would probably be a lot of fun if it wasn't so relentlessly unpleasant and stupid. Those of us who've been known to get a kick out of these Omen-esque outings will probably give the movie the benefit of the doubt for far longer than it deserves. But for all of its effective jolts and expert acting, Orphan is so frustratingly illogical that it trashes whatever goodwill you extend toward it, and the experience is too unremittingly dour and punishing to be any kind of not-so-guilty pleasure. (One of the friends I saw the film with left the auditorium saying, "I need a shower now." Get in line, pal.)

Dave Chappelle in Dave Chappelle's Block PartyDAVE CHAPPELLE'S BLOCK PARTY

Dave Chappelle's Block Party is teeming with something that has been sorely absent from 2006's movie crop: joy. In the late summer of 2004, Chappelle, fresh from signing his now-legendary - and currently defunct - $50-million contract with Comedy Central, spontaneously decided to throw a block-wide bash, and recruited a batch of rap and R&B performers (including Mos Def, Erykah Badu, Kanye West, Jill Scott, and Lauryn Hill and the reunited Fugees) to perform a day-long gig in Brooklyn; the resulting concert doc features highlights from the concert interspersed with scenes of Chappelle kicking back with the stars and the block-party attendees, and the movie, directed by Michel Gondry, is a giddy, oftentimes exhilarating spectacle. It's hard to determine who's having more fun - the musicians, whose on-stage performances are heartfelt and vital; the Brooklyn masses, whose enjoyment of the show is palpable; or the movie's audience.