"Film criticism is basically just a playground for explaining one's own worldview," they told me. Personally? I think that’s nonsense. I don't even feel the need to justify my stance, but if you want anyone to actually take your opinion seriously, you kind of "have" to explain yourself first.
Since my thoughts lean pretty close to what the quoted author is getting at...
Film is an artistic medium that hits the cognitive system in its "purest" form. It’s this continuous stream of visual and audio stimuli that doesn't really handle any "lag" during processing. When I say purest, I mean the fact that space and time are synced up to such a degree—assuming we're talking about decent craftsmanship, obviously. The opposite extreme here is Ed Wood. In a well-made film, there shouldn't be any heavy lifting required by the brain to process the info. Also, movies are incredibly dense with information, so any "lag" in processing breaks the flow; your brain ends up struggling just to catch up with what's happening. Like, if you step out of the theater for ten minutes and come back... it takes a moment to settle in, or you just give up entirely. You get the same effect if a movie is just poorly made.
I guess you could look at it like a model of fertilization, where millions of tiny little sperm cells (the information a film provides) are racing toward the uterus (the worldview). Only one can succeed, so by that parallel, a film is "good." If the result is twins, it's a classic. Anything above that is just pure cinematic genius. Not to go off on a tangent about in-vitro filmmaking, though. Most attempts at fertilization end up being just plain sex—whether because of condoms or birth control... in movies, we just call that entertainment. Anyway, back to the point...
So, this specific sequence of information within a set context (liberal, misanthrope, jerk, idiot, madman...) produces different interpretive models for everyone—basically, different ideas of what the director was trying to say. The more accessible that concept is, the more people will find the film appealing. The more complex the concept is (not necessarily "lower," mind you), the smaller the audience that will consider it good. And that brings us to the "worldview" embedded in the film's concept. That's why "reviews"—which aren't really dry treatises following a rigid structure, but more like intimate windows into someone's personal philosophy—exist. The film tries to install itself like an essay, because that worldview is attempting to interpret symbols and their relationships. To me, any explanation of that is essentially a literary work in itself.
I find reading those kinds of "reviews" fascinating—especially for films that actually touched me somehow. That kind of relationship with cinema is almost confessional. The film acts as a catalyst where a person's internal worldview can be brought to such a level of clarity that it becomes possible to actually put it into coherent words. There's huge value in that, because very few of us truly understand our own worldview, and even those who do usually struggle to describe it.
Not to mention the ones who went crazy after having that realization. Or worse.