Film criticism: challenges and new trends

Film criticism has many challenges to win:
It has to renew its instruments after the evolution of filmmaking (tricks, special effects, computer usage...etc). Also, the internet has led to what is called democratization of talk about cinema (blogs, forums, e-publishing...). So, is it a confirmation of what Truffaut said, each of us has two jobs: his own and that of film critics, or is it a fear of the spectre of random talk about cinema.
These two previous matters give birth to the issue of the culture of film critics and the need to for them to have visual or rather multimedia instruments in order not to fall into a reductive vision giving more importance to message at the expense of form (or vice versa) following the traditional dichotomy: form and content.
The fourth challenge is represented in the following questions: does the act of film criticism occur before or after seeing the film. Is the role of film critics to motivate people to go to theatres and recommend the films they choose? See this, do not see that! Or, is it to introduce and promote new films? Or, does the act of criticism come after seeing the film in the frame of general evaluation of different approaches?
From this raises a legitimate question which constitutes a new challenge: is film criticism content with film marketing and evaluation or should it enlarge its view and think about the aesthetic aspect of cinema and cinema styles as well as artistic trends. It may make out of the instruments themselves a subject matter (criticism talking of itself).
This level leads to the sixth challenge concerning the relation of film criticism with the written and audiovisual (multimedia included) media, the ambiguity of this relation and the interference of interests instruct the artistic taste in a way that has nothing to do with the love of cinema. In this regard, one may also raise the relation between film criticism and journalistic written criticism. So, is the journalist who follows films and announces publications a film critic? And is it true that this criticism has lost its place for e-criticism? Here, we go back to emphasize the interference of the challenges standing before film criticism.
The talk about new trends in film criticism goes hand in hand with the challenges the latter has to win:
Is it true, then, that there is no trends in film criticism but great critics constituting major schools of criticism and refusing any categorization? Or, can one say that film criticism has two main trends: one that finds the message, the content, is overpowering and sees only the thesis in the film and another that considers it as an integrated piece of art.