Reprising my statement towards the emptiness of Kei's character, in the film, we're only given two instances of a possible sexual side to our hero. No longer bellicose, Kei glances at a subway advertisement depicting a woman in the nude and in a scene with Kishimoto, he grabs a condom. A character included in the series, Sakuraoka, whom Kei has sex with in spite of Kishimoto's willingness to childhood friend, Kato, does not exist in this canon. This in turn renders Kei just as flaccid an attribute to Gantz (2011) as is the disappearance of rules and limitation to their game; mainly, the boundaries of the fight and the strange realm they exist in. The realm in which your actions affect the surroundings on both planes as well as your incarnation being invisible to the human eye. These elements are largely ignored by Shinsuke Sato, who must have been whistling a tune while approving the screenplay. It is also my firm belief that the Japanese are without an acting pool, so to speak. Most every Japanese film features unbearable facial gestures and Gantz (2011) is no stranger to this. The enigmatic Nishi contorts his jaw in a sarcastic manner as if to belittle his opponent. Absent in the show, the only thing this addition provides is a bit of irritating culture shock to even the most jaded Eastern film connoisseur.
Gantz (2011) is a complete, all around failure. It has absolutely no redeeming qualities save for the brief and disconnected scenes of alien mayhem. The absence of many characters could easily be overlooked on my part but I find myself so perturbed at the general embodiment of flesh within Gantz. For being a fan of the animated show, the release of this film marks a sad day for fans of Gantz worldwide, even if they are sniveling parasites wearing eyeliner and hair extensions. The strange lack of sexuality and even nudity strips Gantz (2011) of the very things that made up its grandiose package of teenage masturbatory fantasies including attempted rape, weaponry that triggers a delayed implosion effect, and attitude. Gantz (2011) is a lifeless being, devoid of any substantial traits as its predecessor boasted lovingly and I am not looking forward to its sequel. This is something that cannot be realized within the confines of reality. Something as seamless and open-ended as animation is exactly why the more ludicrous ideas are transposed on paper and not celluloid. Leave this one to the artists.