David Weigel’s review published on Letterboxd:
A little sloppier than the subject deserves. Can’t knock the directors for the cheap stuff, like the distractingly public domain versions of pop songs. (When Milius makes a comeback we hear a song that is definitely not “Back in Black,” just a song with the same time signature and riff.) Can judge them for some sloppy edits and some “why that guy” interviews, like one with Bryan Singer(?). Gains a lot of power with the ending.