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The article examines the 2010 Cannes Film Festival in Cannes, France. Relatively low attendance at the event, particularly among film critics, is attributed to the ongoing effects of the recession on journalism and the motion picture industry. The presence of a large number of motion pictures with political themes in the festival's various competitions is considered, and a variety of those films are summarized and evaluated.

The article presents numerous lists of the films thought to be the most impressive in 2006 as compiled by film reviewers for the periodical, "Sight & Sound." The ten films that were featured the most on the individual lists are collected and displayed in a top ten listing, with the motion pictures "Hidden," and "Volver" occupying the top two spots. The reviewers offer their reasoning behind their selections. Other films meriting attention included "The Departed," "The Queen," and "Red Road."

The article discusses the declining influence of film critics. The author notes that increased Internet blogging and decreased advertising revenue has led to the dismissal of film critics at U.S. newspapers. He comments on the use of satire in motion picture reviews and suggests critics should emphasize a wider consideration of motion picture culture in their criticism.

The article introduces an article about the five most inspirational books about film as determined by leading film critics. The books include "What is Cinema?," by André Bazin, "Notes on the Cinematographer," by Robert Bresson, "The American Cinema," by Andrew Sarris, "A Biographical Dictionary of Film," by David Thomson and "Hitchcock," by François Truffaut.

The author reflects on the deaths of film critic, Philip French of Observer and editor Penelope Houston of the magazine Sight & Sound and remembers them during his visit to Mexico for Day of the Dead festivities. He is also reminded of film producer Chris Collins as their work is an inspiration and reminds of the 1990s cinema. The author talks of popular directors like Satyajit Ray,John Ford, and Martin Scorcese for their film writing and criticism.

The author expresses his opinion on film critics and film evaluation. He alludes to a book "Film Criticism in the Digital Age" which contains an article previously written by him on the topic. Topics including the methodology of film criticism, its social aspects and the changes it has undergone over the years, as well as the impact of media houses on film crtiticism.

The editor discusses the merits and demerits of film critics' knowledge of films. He says that as a critic himself, he personally views films without having prior knowledge about them and mentions films reviewed by him, including "Blackhat" and "American Sniper". He opines that it is upto readers of film criticisms, whether they want to read spoliers about the films or not.

The author expresses his opinion regarding film critics' views on the film knowledge of beginning filmmakers. He discusses definitive films for beginning filmmakers, remarks on motion picture directors in Great Britain who are influenced by classic cinema, like Ben Wheatley, Joanna Hogg, and Richard Ayoade, and offers information regarding filmmaking education in Great Britain, such as the Royal College of Art, National School of Film and Television, and the London Film School.

An editorial is presented in which the author discusses the use of social media, including microblogging website Twitter, in film criticism. Topics discussed include the social media policy of the Berlin Film Festival, the book "Hatchet Job" by Mark Kermode, and the use of social media to disparage the opinions of film critics.

The author reflects on the job market for film critics since 2008, focusing specifically on their employment by British newspapers. He notes that while many American publications reduced their staffs or focused more on online content, the British press initially did not follow this trend. The importance of the retirement of critic Philip French is discussed as well as the replacement of other critics such as Christopher Tookey, Sukhdev Sandhu, and Derek Malcolm.

The author discusses the relationship between filmmakers and film critics, argues that critics support auteurism, and describes the 2013 Bari International Film Festival (BIF&ST) in Italy. The social effects of Internet access in Bari, the social aspects of conversation in Italy, and director Stephen Frears are discussed, as well as collaboration in motion picture filming.

The author discusses his reaction to the film "Zero Dark Thirty" directed by Kathryn Bigelow, which depicts the torture of prisoners by the U.S. Central Intelligence Agency (CIA) and the killing of terrorist leader Osama bin Laden. Critics Michael Atkinson and Guy Westwell are quoted, and the author argues that the film shows the consequences of violence and makes a judgment of the characters portrayed in the film.

The article presents an editorial which discusses the state of film criticism. The author believes that film critics have become complacent in their role and are content to passively admire cinema rather than trying to influence it through their own work. Famous critic François Truffaut is also discussed.

The article, part of a special section on the 50th anniversary of the start of French New Wave cinema, discusses the influence of film critic André Bazin on the movement. Topics discussed include his views on auteur theory and his influence on prominent New Wave directors like François Truffaut, Claude Chabrol, and Jean-Luc Godard.

The article discusses various reports published within the issue, including one on the relevance of film critics and another on international film journalism.

The article presents the author's views on the apparently declining role of film critics in the press, as seen in the number of such reviewers who have been laid off in the U.S. without being replaces. The status of movie writers in Great Britain is discussed, and the author sees them as pressured to write only about British film, even at international festivals like Cannes.

The author discusses the use of quotations by motion pictures critics in advertising for motion pictures. He discusses how a quote from a review of the motion picture "No Country for Old Men" was used in the film's publicity campaign. He suggests that enthusiasm displayed by critics may decrease upon later consideration. He comments on quality of U.S. and international films released in 2007.

The author reflects on the lists of top films for 2006 as chosen by reviewers for the periodical "Sight & Sound," discussing the ten films that were featured the most. He suggests that the inclusion of two British films, "The Queen," and "Red Road," in that category might represent a more open-minded approach to British cinema from critics. The author also discusses the lack of American films on the lists, and the lack of aesthetic consensus from the critics concerning their individual lists.

The author reflects on issues related to the British cinema sector. He points out the conflict between the reviewer and the marketing people. He explains the star ratings system of newspapers for films. An overview of the New Cinema Fund of Great Britain's Film Council is presented.