Tyler Johnson’s review published on Letterboxd:
Quentin's most mature love letter to cinema, more positive and energetic than anything he's done prior. Script is structured to revolve characters in and out at a very rapid pace, weaving between Leo/Brad with so much side talent that always make you wonder where a scene can go on the back of the last one that always knocks it out of the park. Only a few stretches of monotony - such as Sharon Tate going to see herself in The Wrecking Crew - captivate on both Margot and our expectations, giving room for a genuine character moment that showed me more about Sharon Tate than any documentary ever could, accurate or not. Brad Pitt hanging out with his dog and watching TV appears pointless when it happens, but pays off by the end. No wasted picture, no wasted sound. Constant music, so 60's.
Early on we see Leo - as an actor - go through the crisis many Americans were going through at that time. A fading star watching a new culture, new talent creep up on him. It celebrates and critiques both generations while also giving us the charm of their ideals. It gives us the extremes of the worst people in Hollywood from the slums to the hills, but never delves to exploitation or indulgent brutality even when it does. It does this balancing act between good and evil until that LA sunshine sets and those pretty lights come on, a magic vibe of cool optimism that's just irresistible even when our heroes reveal themselves to be less than that.
You just can't understate the optimism that radiates from this. Constant craziness with only the *real* life victims being truly sympathetic and real despite our voyeuristic view of them in the film. Everybody is watching from afar or through screens, talking about what they see - the only thing that matters is being the observed, being in the moment.
That's Hollywood, that's life.