Thanks, well their most osmotic bit is obviously the whole protagonist thing + Plinkett Test that they cover in Part I/1.

1a)
The Jedi are dismissed on the basis of being "on a boring mission they don't care about" - which is a half-true description of... the 1st minute of their screentime. They've been given an assignment, and show a kind of nonchalant attitude about it.

In their 2nd scene, however, they already look worried.
And in their 3rd scene, they get attacked.
After the fight's over, Quigon starts making decisions about what to do next, coming off as focused, authoritative, and invested - and those decisions, of course, all revolve around helping the victims of the imminent invasion.

The point's supposed to be that the viewer can't get invested in a character who's just on an assignment and doesn't care - the truth is that the viewer gets invested in a character who gets attacked, defends himself and then proceeds to think on his feet to help those in distress.

The latter, of course, is omitted by his description of "boring mission they don't care about" - and later from his criticisms of his "stupid"/absurd decisions revolving around more marginal plot points (i.e. underwater side adventure, race bet, taking the boy into a warzone).

1b) Amidala is dismissed by virtue of being "some foreign queen the film's not specifically about, either"... except that the Naboo invasion is the central plot of the film, and she's right in the center of it.

When she's first introduced on the space screen, the invasion has already been established as the main plot by the preceding scene (i.e. the Jedi seeing the army in hangar) - then she gains focus during the courtroom scene, and after that she's already in the center: PoV-observes the invading army, refuses to sign treaty, a short "refusal of the call", and it only goes from there.

Once again, Plinkett acts as if he's describing the movie, while all he's describing is the 1st few minutes of the character - starts off as "that queen down there", gets into the center after a few scenes.

1c) Anakin is dismissed because he shows no understanding of what's going on - that's kinda true, but the general picture is clearly explained to him and he shows enthusiasm for doing his part in helping the crisis.
Even the frivolous space battle starts with him consciously helping out the team, and even afterwards he's evidently aware of "doing his part" when he decides to stay in the battle etc.

Aside from that, he's got a personal story going, with the early interest in the Jedi and then the desire to get trained etc. - and when you've got an ensemble and one of them's a rookie, he's very much allowed not to be the driving, comprehending element of the main plot as long as he's got his own personal thing going and is conscious of his participation in the main plot.

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So, with Plinkett's argumentation invalidated, all that's left to do is look at the rest of the film, what the narrative is and what those characters are doing in it:

1b) Amidala assumes full PoV and agency on Coruscant, going through a growth and making increasingly proactive choices.
Back on Naboo, she leads her own revolution, going through build-up, suspense, lowest point and eventually triumph.

1a) Quigon saves the damsel in distress and leads her cause while she's still passive - in the process, he's gradually confronted with the Sith behind the crisis, and the coinciding discovery of the chosen one.
By the last act, she's the one in charge and he's mainly there to look out for the Sith - it ends up with him being killed by the Sith and having Anakin trained.

Similarly to, say, 24, it starts out with a more marginal crisis that turns out to be a prelude for a much bigger threat - in this narrative structure, Padme is the protagonist of this crisis, while Quigon leads the viewer from that to the bigger threat.

1c) Anakin kinda hovers between a 3rd (wheel) protagonist and a supporting character like the Kid in Matrix 3 - I'd say if nothing else, the fact that his "3rd act" was almost entirely wasted on frivolous comic relief (of the same kind as the Jar Jar antics down on the ground, at that), kinda propels him into the latter.
(It should be noted, however, that the whole "fly around with robot in tow and accidentally win space battle" is a particular type of fantasy / wish fulfillment, while Jar Jar accidentally shooting bad guys is not and really just pure comic relief.)

It also doesn't help that while the other 2 characters are cool, he's a real kid and therefore kind of sucks.

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Now with this structure established (which I can further back up if challenged), the real film criticism begins: there's a story arc, and two protagonist arcs tied into it, however they're very flawed and full of various gaps and negligence.

Identifying all those, in combination with the strengths, the things that work, the things that are there in full or as "remnants" of what would've been a complete narrative, would yield the result falsely attributed to the Plinkett reviews - a conscious understanding of the diffuse sensation that while film has a story and drama, something about it seems to just hover in the air or be amiss...