Of course, not every critic liked it.
What is it Joyce says in Finnegan's Wake? “We wipe our glosses with what we know.” For literary critics, a movie is good if it has clever dialogue or is a faithful adaptation. It's no different from why multiculturalists judge a film in terms of how many minority characters are in it or what their income level is, why Jewish viewers like Schindler's List, World War II vets like Saving Private Ryan, teenage girls like Titanic, and teenage boys like The Matrix. It's identity politics. People enjoy seeing themselves and their own views represented – not their real selves and views of course, but a flattering, idealized version of them. It's not a terribly sophisticated view of what makes great art. Yet how many times do you hear something like “Holocaust survivors said that Spielberg's movie was accurate” invoked as proof that Schindler's List is a great movie?
(from another piece)
Most Hollywood movies ultimately boil down to making the viewer feel good by flattering him. Every girl watching Titanic is allowed to see herself as Kate Winslett; every boy as Leonardo DiCaprio. Who wouldn't want to think of themselves as being this noble, this glamorous, this heroic–this capable of love, self-sacrifice, or suffering? It's a big lie of course. Life isn't like this and no one's emotions are this pure and uncompromised. We're much more mixed, troubled, uncertain of ourselves. Real love isn't this self-sacrificing and unconditioned. It is mixed with unloving feelings like selfishness and pettiness and the desire for appreciation. Real suffering, sacrifices, and loss is not unconditioned and absolute, but laced with anger and resentment and self-justification. Real virtue is often critical and intolerant of others' deficiencies. And we lapse from virtue as often as we adhere to it. We lie to ourselves constantly with self-justifying stories about how much harder we work, how much more we deserve success than others do. One might say that the very appeal of Hollywood film is proof of our emotional imperfection. The only reason we crave these movies is because we are addicted to glamorizing our emotional states, to deluding ourselves, to telling ourselves comforting stories about ourselves. Their repressions are proof of our insecurity and desperation for flattery. Their purity is evidence of the impurity they deny.