https://www.vox.com/culture/2017/12/18/ ... ontroversy
The most common complaint in this regard is that Finn and Rose’s journey to the casino planet of Canto Bight is a slow, pointless distraction from the more immediately involving plots involving Rey and Poe, one that gums up the middle of the movie and doesn’t amount to anything in terms of the plot. And I can certainly see this, since the Finn/Rose plot nearly lost me the first time I watched the film.
But when you reach the third act, and the thematic impact of this plot clicks into place (as the Atlantic’s David Sims has written about here), it becomes more impressive within the whole of the film. Put simply, Johnson’s film, on a first watch, seems to have a lot of pieces that don’t fit, because he’s not planning to make them fit until the film’s very end. And that can be taxing to watch.
Ultimately, these sorts of plot holes and storytelling choices are of less interest to critics, who tend to focus more on a film’s craft and its themes, than fans, who like to pick apart the nitty-gritty details of a movie. And I’d argue that almost all of the so-called “plot holes” fans have brought up are ultimately explained away within the film, or justified by how they play into the movie’s overall storytelling structure. It’s rare in this film that a setup doesn’t have a payoff and vice versa. But they’re not always where you’re looking for them, and that can lead to confusion and consternation.