Michael Marino’s review published on Letterboxd:
Alright, so I'm pretty mixed on this. Hell, probably the most from any of the movies Nolan has done yet.
I mean, it's ironic that most of the issues I have with this film come from the very same problems that are usually present with all of his other movies that I'm typically okay with.
As my biggest problem with this film, and as many others I've come across with this site, is the movies sound mixing.
Because it seems here that Nolan has finally come to terms in accepting his persona of being the type of man who gains sick pleasure in making the ears of his audience bleed worldwide.
And hey, I'm not usually one to kink shame anyone, but when your kink tends to involve your movie's post-production, maybe it's time to stop all the role-playing sessions with your wife in the editing suite.
But, yeah, I suppose, if I had a wife who happens to be my co-producer, I too wouldn't mind letting my spouse stick her pink toes in my ears during our sound mixing sessions.
Moving on, another issue I had with the film was the huge amount of clunky ass dialogue. And hell, it wouldn't be fair to admit, even as a fan, that Nolan hasn't always been flawless in this field before. I mean, just thinking back to cop extras dialog from the bat pod sequence in The Dark Knight, that crap makes me cringe somewhat even to this day.
Because there was one scene here, and no spoilers, where the line delivery was so bad, including Elizabeth Debicki's character, that I snorted so loudly in my mask while sitting in the theater that I got a look from people on the other side of the auditorium.
And with John David Washington's character, I shit you not that whenever he referred to himself as the Protagonist in the third person during his scenes of dialogue, the shit was so goofy that it made me think back to Tom Green's performance in Freddy Got Fingered when he was doing the backwards man scene.
Overall, I think my feelings about this film have fallen to what I've been feeling like with 1917. As both films were, in my view, fairly good as a whole, though even with their faults and inconsistencies, what saves them is the stunningness of their memorably beautiful sequences instead of their narratives as a whole.
And you could say that it causes me a lot of sadness to admit that this film turned out to be a slight disappointment in my eyes at the end of the day. I mean the movie was still pretty good, but it definitely felt like Nolan’s weakest film since The Dark Knight Rises.
Perhaps right now, I'm pessimistic. But at this moment, it seems that in time, in our not-so-distant future, I'm starting to get the impression that Christopher Nolan will begin to embody himself as one of the screenwriters who presents a fictional pitch to the character portrayed by Tim Robbins in Robert Altman's The Player.
Like I feel like he's just one step away from being like Buck Henry with The Graduate 2, except instead, it's Inception 2, and this time, Dom Cobb's finally going to wake up.
And lord, I sure hope not.