At this point, most paid critics are merely part of either the production machine or the website clickbait machine. Whether they are established critics who work for major newspapers or magazines or ‘freelancers/writers-at-large/etc’ who work for ‘independent’ web publications (which really aren’t), they are in one way or another beholden to market forces. Studio/Distributor X produces/distributes Film Y (or Production Company Z produces Film Y which is then bought by Studio/Distributor X), and a critic from Publication W is assigned to review it. X and W are more than likely owned by a parent company or corporate entity with profit motives. Sometimes they’re owned by the same company, and when that happens it’s not in W’s interest to give Y a negative review. That’s an oversimplification of course (most reviews are moot since most films produced by large studios in North America lose money domestically and are made for overseas markets), but my point is that the criticism-review cycle is merely part of the distribution process, at least with domestic distribution. And it’s win-win: X gets to flaunt ‘critical praise’ from W, and W gets to see his or her byline in a trailer or on a poster made by X.
With that in mind, a lot of film writing/criticism is just clickbait journalism that writers have peppered with pseudo-academic language in order to lend it some legitimacy. How did that happen? The introduction (and overuse/misuse/abuse) of academic language into popular film criticism is likely the result of a surplus of film studies majors and film school graduates (a surplus by definition: the supply has exceeded demand) who for whatever reason didn’t successfully place into the industry, had sour grapes, and began to write criticism instead. But, they’ve learned quickly that there’s no real success to be had as a critic now without clickbaiting. Most reasonably intelligent people understand how clickbaiting works: It’s easier and more profitable to appeal to readers’ emotions rather than to their intelligence or common sense. Instead of trying to understand the filmmakers’ ideas or artistic intentions, you extrapolate an issue (or failing that, superimpose an issue arbitrarily on the film) and scrutinize it through the lens of a simplified, pet form of an ideology (an ‘ism’) that is often distorted in a way to make the ideologue believe that his or her feelings are more important than facts. In short, you politicize the movie rather than critique it.
That’s not to say that this kind of writing doesn’t belong in film criticism; of course it does (at its core, it’s merely ‘persuasive writing’ like anything else). But the current monetized structure of internet-based publication -where payroll and survival of the publication are contingent on the amount of traffic the website receives (the ‘number of clicks’)- has forced writers to make increasingly more ridiculous, polemical, and polarizing arguments about films while getting further and further away from the filmmakers’ intentions and the components of the medium itself. In a way, you could compare modern critics to politicians who don’t want to argue policy and only want to engage in character assassination and say that bad policy is the other guy’s fault (’playing the blame game’).
As a result, film criticism isn’t really ‘criticism’ anymore. Critics no longer meet the artists halfway, and are less interested in the art than they are in what the art ‘represents’ (that is, how the art benefits or hurts the sociocultural capital of either the author or a certain demographic in some abstract way). Listening to film podcasts and reading web ‘content’ borders on a surreal experience now. Why would someone in the 2010s take a film made in the 1930s completely at face value and make no attempt to contextualize it in any way? It’s too easy (and frankly a cheap shot) for someone in 2017 to call a film made in 1937 ‘racist,’ ‘sexist,’ and all the rest of it. It looks progressive and intellectual but, again, a reasonably intelligent person will see through this. The criticism is just as myopic as the film it targets.
As for critics’ relationship with ‘lesser’ genre films (horror, exploitation, etc.), the former has been systematically ghettoizing the latter since at least Roger Ebert, who not only popularized the notion that the average person could be a film critic but was also famous for disliking horror (again on the grounds of various pet ideologies), and even made efforts throughout the 1980s to get certain genre films banned in the United States under the guise of ‘progressive’ politics. Thankfully, horror and related genres have experienced a reappraisal since the 1990s with analysis from authors like Carol Clover, Barbara Creed, Mikel Koven, Alexandra Heller-Nicholas, et al.
[Originally written February 2017, from a conversation with filmmaker J.P. Diaz]