The development of social networks where everyone is free to give his opinion limits the scope of certain professionals and in particular that of film critics. Does this difficulty weaken a split critique between specialized and daily journals? This restriction is in addition to questions that seem to be constitutive of its nature: what is it for? What is his position in the face of popular cinema? to the mainstream films that fill the movies ? These questions raise the question of the role and usefulness of cinematographic criticism and, more generally, of its definition. Unable to provide stable defining properties, cinematographic criticism is defined in hollow, by what it is not. But this defining attempt challenges the very status of cinema: art or entertainment?
