Not long ago, the fate of a film or Broadway show rested in the hands of the critics. Producers and directors could be found in Sardis opening night waiting nervously for the reviews in the late edition papers. A film would fail with a pan from Pauline Kael. An artist's work would instantly increase in value if celebrated by the right papers. But what is the purpose of the critic today? Are they the legislators of cultural tastes, or a conduit for the public's understanding of art? Why are these people entitled to dictate what is good or bad, and who is listening anymore? Maurice Berger assembles the top critics in each field to address the problematic nature of the critic's authority and responsibilities. Contributors include Richard Martin, bell hooks, Jim Hoberman, Arlene Croce, Wayne Koestenbaum, and others.