A surprisingly tense psychological game of cat-and-mouse, Death Note, a huge hit in Japan, centers around a powerful notebook that grants the ability to kill with the stroke of pen. Any person written within the Death note will die soon. Ryuk. a god of death, grants the notebook to Light, who uses the strange powers as a vigilante executioner. A fascinating confrontation develops between Light and the mysterious "L", a cybernetic Sherlock Holmes.

Beautifully shot, the representation of Ryuk, especially his non-stop conversation with Light (no one beyond those that have touched the Death Note can see the god) and the god’s love of apples, is particularly well handled. Based on the popular manga, Death Note successfully explored several moral and sociological issues while remaining entertaining and accessible.

I was so taken with the first Death Note that I opted for the continuation and skipped the second Ain’t It Cool News secret screening.

Death Note: The Last Name starts immediately at the ending of the previous film with the introduction of a new Death Note and Rem, another god of death. While not quite as good as its predecessor, the second film continues the exploration of morality while introducing new characters and background to the books. Similar to The Mask (both in film and comics) storyline, anyone who acquires the Death Note may use the powers over death in any matter they choose. And like the Mask, the consequences are not always immediate and obvious.

The Death Note duology is part of an entire cottage industry in Japan with an anime show, a line of toys, manga, and a forthcoming "L" movie. Be sure to check these films out out before it’s destroyed by Hollywood.

Documentaries of not well known but influential individuals fascinate me. Blood, Boobs and Beast, the story of cult exploitation filmmaker Don Doehler, explores the history and world of this little known filmmaker. Best remembered as the director, writer, and/or producer of eleven films including underground hits The Alien Factor, Fiend, Night Beast, and Vampire Sisters, the mild-mannered Doehler founded the influential magazine Cinemagic and the pioneering underground comix Wild which featured the early works of Jay Lynch, Skip Williamson, and Art Spiegelman as well as Doehlman’s own legendary creation Pro Junior.

Director John Paul Kinhart skillfully weaves the divergent histories and interests of Doehler’s lengthy creative career throughout the fascinating tapestry of Doehler’s complex and at times tragic family life. Interviews with Doehler protégés (including J.J. Abrahams, whose first professional job was writing the music for Night Beast, and special effects guru Tom Savini), co-workers (There is enough of director and business partner Joe Ripple to almost give him his own documentary), and family (including his second wife, his brother and two children), helped Kinhart create a sympathetic and quite probably realistic view of Doehler. Sadly, Don Doehler died during the film of Blood, Boobs and Beast. Kinhart crafted a fitting tribute and lasting memorial.

Director Kinhart was in attendance and answered questions following the feature. To the obvious question he informed the audience that Doehler did see a cut of the film two weeks before he died and seemed happy with it. The same cannot be said of his partner Ripple who was displeased with the trailer and although he was sent a final copy of the film, Kinhart has no idea if he’s seen it.

Kinart shared that his dream project is an animated version of Pro Junior.

When asked about the super Doehler fans– a pair of obnoxious guys, who insisted on being interviewed together and on wearing different funny hats throughout– and on their hats, the director wrestled with the decision to include them and their goofy hats in the movie. At one point even thinking "Aw shit! This is gonna look stupid." Obviously, the hats stayed. As for if it looks stupid… the jury is still out.

A fairly standard gangster film, the Korean A Dirty Carnival while well made and expertly acted adds nothing to the mob genre. Kim Byung-Doo, a low level mobster, works his way up through the gang rank with intimidation and death. Predictably, his fall occurs in a similar manner. While not a bad film, A Dirty Carnival lacks any real staying power and is ultimately just another gangster film. (Hope I don’t get whacked for writing that.)

Due to some personal matters, I will not be attending Day 5 (Monday) of the Festival. I plan on being there on Day 6.