Doug Dillaman’s review published on Letterboxd :
There is a shot at 1:06:14 where black bars mysteriously appear on either side of the frame for a couple seconds. There is another sequence, earlier on, where a car starts pulling over when it's dark outside and it's light when they cut to the reverse. These are secondary factors for Timo Tjahjanto, I guess, whose main concern seems to be just how many different forms of indignity the human body can have inflicted upon it in the context of an action film. Said indignity is staged and executed expertly and unflinchingly, in a clear coverage style that would make you say "how the hell did they do that without wounding somebody?" if this film wasn't so damn numbing in its relentless overkill. It's also terminally juvenile: thin characterisations, minimal plot, of course the female killers are lesbians, et cetera.
And yet. Any two minutes of about forty minutes of the action scenes, transported into another film, would plausibly be the bloody showstopping highlight of that film. And I can imagine watching it with some friends, geeked out on sugar, and surrendering to the rollercoaster. So take that under advisement.