The digital technology has drastically changed the platform of film industry in production, distribution and consumption of cinema. Celluloid films and projectors, the traditional media of cinema, have been replaced by digital image sensors and projectors. And special forms of movie theaters such as IMAX Laser, Sphere X, Screen X, and 4DX has become the main source of profit for film market. The change in the technological platform has also significantly influenced cinematic spectatorship of the young audience, who are adept at dealing with digital media. The young audience, signifying the generation of what David Denby calls “platform agnostic,” has become the main target of blockbuster films in the fantasy-spectacle genre. Furthermore, the rapid dissemination of heterogeneous spectatorship in the film market has also made an impact on the field of film criticism, shifting it from print publications to online blogs and websites. And the traditional power of film criticism is now being gradually weakened as its proper platform dissipates into the sea of Internet mazes. Here we can raise a fundamental question about the role of film criticism, especially its ways of analyzing and directing the path of film as art under the rapidly changing condition of its production and consumption. This essay attempts to offer a clue to this question by reviewing the development of the film industry and film criticism, and analyzes Christopher Nolan’s Dunkirk as an example of the evolution of film language in the age of the digital platform.