Willow Maclay’s review published on Letterboxd:
I want to write about this more later, but right now I am just deliriously thrilled with the editing & how it ties into what we come to know as the form of PWSA's Resident Evil series. The sense of geography is everpresent, but stream-lined in a way that creates such total forward momentum. In the cutting the entire dna of the sequence is absorbed in fractions of a second & feels almost experimental at times. The one sequence in particular that shows a balletic Alice in pirouette, hanging by a wire, and constructed with wide shots to display the elegance of her maneuver (like in Retribution & Afterlife), but cut together with close-ups and very physical gestures in a way that we feel her turning, see her entire circular movement, feel the impact of the gunfire, and her resistance to these five or six men. It's a hell of a thing & I'm not sure I even described it well.
There's a lot more to this than just form & I'd wager it is Anderson's most emotionally moving & politically dense---his Angel's Egg--- but I'll save these thoughts for another viewing & a perhaps a proper piece.