Peter Labuza’s review published on Letterboxd :
Like Lynch's Dune, this scores points for simply being not uninteresting. As many others have rightly noted in comparison to a certain recent Marvel spectacle, you can feel there were drawings on a table with these designs before they went to the computers. More than that, each place/world seems to have a very different architecture instead of a sameness. It also had that elephant man thing, which was great. A few things of note:
-One of the things Wachowskis do so well is attempt to bridge real-world phenomena with their own fantasy solutions. So here we learn things like how crop circles are made or why Jupiter has a Great Red Spot. These are little visual gags that often only appear for a couple seconds, but make for great jokes.
-I'm not one for plot-oriented questions, but Jupiter's biggest failing is a lack of character continuity. Why do these people never give chase? Shouldn't the sister be concerned that after Jupiter has claimed her title that she suddenly disappears? Where is Titus's army? What was the deal with the rich girl's name being thought of as the reincarnation? Why does Jupiter give a big speech about her relationship to guys when she otherwise has not show any interest in wanting a guy before? Why isn't Tuppence Middleton dating me?
-Eddie Redmayne's interpretation of Steve Carrel in Foxcatcher was something that was in this movie.
-Jupiter's action simply needs to be better. It fits on the opposite plane of the spectrum with Godzilla, where the camera is extremely intimate with the objects (people, spaceships, etc) that it is following, which creates a certain sense of velocity. This can lead to certain moments of excitement, especially in the Chicago sequence when certain changes in direction, along with acceleration and deceleration, are registered in a physical sense. But too often this closeness renders the images incomprehensible, where the most important question, "what am I looking at?" becomes a problem. This is most majorly noted in the rescue wedding sequence, where I had no idea what those gray-space ball things were exactly doing and what patterns they were doing and how Tatum/Bean were making it through. The Wachowskis should look at what Michael Bay does, which is a balance between the grand and the intimate in action sequences (too often they just go with slow motion, which is no longer interesting to watch).