After a two-minute “previously on Gantz” type of intro, something one may construe as action goes down in Gantz II: Perfect Answer. It’s too little, too late, however, and followed by even more slog, until an ungodly walking running time of two hours and 21 minutes is reached. The whole of Japan should know better.
It’s a damned shame, given how frenetic the first film was a mere one year before. I suspect both Gantz chapters — birthed from a presumably never-ending manga, it bears mentioning — were shot back-to-back, as the original film ended in a cliffhanger. In hindsight, I’d rather have my questions of what would happen go unanswered, if the imperfect Perfect Answer is the lame response.
Although I give returning director Shinsuke Sato immense credit for not doing the same thing twice, I found myself pining for at least the mission-after-mission, go-get-this-goon structure to stick its head into the proceedings. In its place is a plot twist that the big, black ball called Gantz has up and changed the rules of his own game, thus pitting the black leather-costumed “contestants” against one another. Never underestimate the love of a human heart to fracture a team.
A couple of zippy sequences exist, primarily a mowdown-cum-showdown amid a crowded, speeding subway train. But the finale is sappy; the rogue’s gallery of aliens, missing; the electric charge sent down your cinematic spine, startlingly weak. So underwhelming and disappointing is this immediate follow-up, the experience is like licking the top of an old 9-volt battery to see if it has any sign of life left. —Rod Lott
Dr. George Dumurrier (Jean Sorel, 
But just what is going on? Can George figure it out before the cops find enough evidence to put him behind bars and possibly on death row? And since this thing is titled 
Hosted by Rob Zombie (if appearing on the DVD menu counts), 
“Mister Eryams” follows a church-contracted investigator of ghosts, examining reports of apparitions in a woman’s home. A clinically depressed chain smoker experiences “Disturbances” in her home, including dolls that do harm. A chemical meant to combat the West Nile virus backfires in “Song of the Dead,” resulting in, yep, more Romero zombies, but also a truly terrible song belted out by a fresh victim. 
In retrospect, it seems amazing that writer/director Michael Tolkin was able to get 
Unable to kill herself, she is saved from imprisonment by the titular event, only to face the near-impossible choice of loving the deity who caused her so much pain or spending the rest of eternity in desolate isolation.