As someone who used to be a fan of Bendis ...
... I think it's worth keeping in mind when he first came in the scene, in terms of being recognized as a "name brand" in his own right.
Bear in mind, Bendis has been writing for Marvel for a full decade now. Just to remind everyone, Marvel was still so trapped in Claremont-mode back then that it was willing to hire anybody who could do a pale imitation of old-school Claremont (Scott Lobdell, Chris Claremont himself) to write the X-Men, which was still the company's flagship title, in terms of both sales and popularity, back then.
Now, old-school Claremont was a good writer, for his time, but there are stories of his that I literally can't even read anymore, because my eyes glaze over at his wall-of-text dialogue balloons, and for better or for worse, everybody else at Marvel was still trying to be Claremont, before guys like Bendis came on board.
Like Kevin Smith, I think Bendis got away with a lot in his early stories, including the actual quality level of his much-vaunted dialogue, simply because of the novelty of his dialogue. Yes, it's easy to look back now at early Smith and Bendis stories, and say LOL ALL THEIR CHARACTERS TALK ALIKE, but back then, nobody else in their relatively mainstream respective genres was writing characters who talked like that. After two decades of Psylocke explaining exactly how her powers worked in every fight she appeared in, the fact that Marvel characters were now talking like David Mamet knockoffs actually seemed more realistic by comparison.
Of course, the problem is that a) Bendis' style has become just as popular now as Claremont's was before, which only serves to highlight that it's just as one-note, in its own way, as Claremont's was, and b) Bendis has been forced to go outside his comfort zone with many of the characters that he writes, and just as Jersey Girl shone a spotlight on Kevin Smith's inability to write dialogue for anyone other than underachieving post-adolescents who sound like Kevin Smith, so too has writing characters like Norman Osborn made it clear that Bendis falls flat when he has to write anyone who can't just talk like Bendis.