I wrote the review. Well, there's different good and different bad. TLJ is different bad. The massive expansion of powers wouldn't be bad, for example, if they were set up previously. Consider the first Star Wars.The criticisms are totally valid, but I feel like the reviewer has some impossible expectations with regard to The Last Jedi. First they criticize The Force Awakens for being too similar to the original, and then they criticize The Last Jedi for being too different.
1.) Luke learns there is something called the force.
2.) On the Millenium Falcon, Obi-Wan tells him that he can use the Force to predict the future, and hence, block blaster shots. (This gets very stupidly worked into an actual training scene in the prequels where a bunch of kids standing next to each other are waving around light sabers.) He fails to do it.
3.) This introduces us to Han Solo. Han Solo tells us that he has no use for mystical mumbo-jumbo. We see this in the Gweedo shooting and when he meets Darth Vader, he just immediately starts blasting him.
4.) Obi-wan tells him to use the force and to let go of his rational thought. Han Solo and Obi-wan are on opposite spectrums of a dilemma, does Luke trust in physical skills and computers, or does he trust in the Force?
5.) Payoff. The final destruction of the Death Star, Luke trusts the Force to guide him and destroys the death star.
Each piece had a setup and a payoff. Same thing occurs in "The Empire Strikes Back." Each skill Luke learns pays off. He learns to lift rocks, he uses this to grab his lightsaber and cut himself free. He's told that Jedi mind tricks don't work on everyone, they fail on Jaba the Hutt. He learns how to do a super jump, he does it in his fight against Darth Vader.
Now go through TLJ. Every power is not set up, it's just done so that the plot can move forward. Sometimes, it doesn't even add up. Princess Leia can force fly. We ge this from nowhere. The payoff is that she shoots Poe, then tells him the answers to what he asked the Captain about earlier. Why?
Luke can force project himself. This is done so he can stall for a few seconds and leave us with the wonderful last line, "See you around, kiddo." Why?
Everything is just "Why?" Plot McGuffins everywhere.
As I talk about in The Art of the Edit, having auters is great, they're creative people. Typically they're better than design by committee approaches. But they usually need someone to roll their ideas off of and to keep things straight. If you let most auteurs go loose, you end up with a mess of unfinished works, (Orsen Welles) or you end up with utterly incoherent stories, (Jupiter Ascending and most of the Wachowski's work in general, M. Night Shyamalan, etc.).
It seems like this is a case where no one put their foot down and what we ended up with is an incoherent mess.