Alejandro G. Inarritu has reached the inevitable 8 1/2 stage of his career with BARDO, 172 minutes of unbridled ego I wouldn't wish on my worst enemy. Let's see if Netflix survives this one. #Venice79

— Dave Kehr (@dave_kehr) September 1, 2022

Bardo – aka 8½". Alejandro González Iñárritu came to Venice with the manspreadiest memoir film ever made: a few great bits, lots of invitations to make Fellini comparisons, and – alas – industrial quantities of yikes. Review: https://t.co/7Mtg3sNdX9 #Venezia79

— Robbie Collin (@robbiereviews) September 1, 2022

As someone who left Mexico almost twenty years and who always wrestles with national identity and belonging, I adored BARDO, a transcendent masterpiece and Iñárritu’s best film since AMORES PERROS. My long review for @TheWrap: https://t.co/rmjAak4W5H pic.twitter.com/kn5kaWcEBC

— Carlos Aguilar (@Carlos_Film) September 1, 2022

Alejandro González Iñárritu’s first film set in Mexico since AMORES PERROS two decades ago, the epic BARDO aims to be 8 1/2 by way of ALL THAT JAZZ; it comes closest in Darius Khondji's seductive visuals. My @THR review of the #venezia79 premierehttps://t.co/0buVDym70i

— David Rooney (@DavidCRooney1) September 1, 2022

BARDO is a ridiculously indulgent movie in which Alejandro González Iñárritu spends 3 hours apologizing for why he keeps making ridiculously indulgent movies

only thing he forgot to include are reaction shots of Nathan Fielder saying "oh, okay"

my review https://t.co/CcHIVW75Z0 pic.twitter.com/fsraNmCYVj

— david ehrlich (@davidehrlich) September 1, 2022

#Bardo is an incoherent grab-bag of visual metaphors delivered with all the subtlety of a sledgehammer. Our #Venice review is here. https://t.co/YB1B71JnSO

— /Film (@slashfilm) September 1, 2022