This intra-critical dispute has a little to do with a lot of things, including the symbolic schism over films as different as Terrence Malick's family history of the universe, "The Tree of Life," and the Marvel Comics-derived mutant-superhero opus "X-Men: First Class." It has something to do with the utterly unsurprising fact that most critics have decanted bucketloads of scorn all over summer flicks like "The Hangover Part II" and "Pirates of the Caribbean: On Stranger Tides," and have seen them go on to become massive worldwide hits, demonstrating once again that eggheads who watch 350 movies a year have become specialists or experts, of one variety or another, and don't have much connection to ordinary moviegoers or the reasons why they buy tickets. It has a whole lot to do with the ancient 20th-century feud between advocates of art-house cinema, which is essentially a remnant of what used to be called "high culture,"...