James Ransone in Sinister 2SINISTER 2

You know the feeling you get when you go to summer camp and make a great new friend, but he/she isn't there the next summer, or the summer after that, and you end up forgetting about that friend until the next summer, when, all of a sudden, there he/she is? I don't, because I never went to summer camp. But I'm betting that sensation is similar to what I felt in the first minutes of Sinister 2 once I recognized James Ransone, who played Ethan Hawke's adorably dippy deputy pal in 2012's Sinister. Although the actor has amassed a bunch of film and TV credits since then (albeit not in anything I've seen), I can't say I've thought of him even once since the release of that low-budget horror hit. Yet the second Ransone's character showed up in director Cirián Foy's follow-up, with his chronic awkwardness and puppy-dog eyes and intense likability, it was like being reunited with a long-lost buddy whom you're ashamed to have let slip away. Ransone's presence here - as our romantic lead, no less! - was a hugely welcome surprise. That Sinister 2 didn't at all suck might've been a bigger one.

Eric Bana in Deliver Us from EvilJuly 2, 10:40 a.m.-ish: My screenings begin with the demonic-possession thriller Deliver Us from Evil, and I notice, during the "found footage" prelude, that the action begins on the Fourth of July. So, clearly, the film is being released at the right time. Ninety minutes later, I notice, during the climactic exorcism, that the action ends on 4/20. So, clearly, the filmmakers were high.

John Goodman, Alan Arkin, and Ben Affleck in ArgoARGO

It sounds like an all-too-Hollywood idea for a high-concept suspense thriller: A sextet of State Department employees are trapped in Iran, and their only hope for escape lies with an ingenious CIA official who plans to free the Americans by having them pose as a location-scouting team for a Canadian science-fiction movie. Yet within its first minutes, director/star Ben Affleck's Argo - based on a recently declassified chapter of the Iranian hostage crisis of 1979-80 - registers as terrifically, nerve-rackingly authentic, even if the film's most enjoyable elements are, in truth, as Hollywood as they come.

This past Friday, larger movie markets saw the debuts of John Patrick Shanley's Doubt, Clint Eastwood's Gran Torino, and Steven Soderbergh's Argentinia epic Che.

Our market, meanwhile, only got The Day the Earth Stood Still, Nothing Like the Holidays, and Delgo.

Sigh. Let's dive in, then.

MurderballMURDERBALL

I've seen a lot of sublimely satisfying documentaries this year, but none with the scope and passion of Murderball. Like last year's brilliant Metallica: Some Kind of Monster, the film's title and ostensible subject matter - quadriplegic rugby - are probably enough to frighten off the audiences who would love it the most, which I pray won't happen; Murderball, currently playing at the Brew & View Rocket, is, thus far, the most invigorating, fascinating, surprising, and deeply human movie of 2005.