What role do influencers play in film marketing? And what does this mean for critics?

It’s with a resounding "What’s up influencers!" that Ebon Moss-Bachrach, the new Thing in the film The Fantastic Four – Origins, walks into a room during the Marvel press tour for what is clearly a social media-specific event. Nothing strange, if you’re even slightly familiar with how modern promotional campaigns work. Yet sometimes we forget just how much the influencer role has gained power within the entertainment industry, and how its pros and cons need to be evaluated within the economy of journalism and cultural commentary. Some interpreted Richie’s greeting - yes, cousin Richie from The Bear - as simply a warm welcome to the content creators and interviewers present, all ready to boost the MCU’s latest entry. Others saw it as a kind of mockery, though the video itself doesn’t really suggest that.

What role do influencers play in film today?

That the influencer world has spilled over into cultural content - especially film and television - is a widely discussed fact. During Hollywood’s double strike in 2023 (both writers and actors), the issue hit a nerve. At that time, influencers were problematised as a loophole used to market content without the participation of its stars, arguably undermining their work and showing that, for a bit of event access and follower growth, everything might be allowed. That said, not all American influencers actively participated in film promotion during the strikes, some showed true solidarity with the industry. Nevertheless, actors today are fully aware they’ll be judged not just by the press, but by the social media sphere too.

Film criticism today

The profession of film journalism and criticism has started to suffer under the weight of a new class of creators. While their methods and results differ, these figures have gained traction on increasingly unstable ground. What tipped the balance was the potential that studios and marketers saw in these creators, who often provide massive free publicity or are paid far less than traditional marketing. As influencer talent manager Jamie Sharp explained during the Barbie campaign, two of his clients attended the premiere and created over 30 social posts in 24 hours, reaching more than a million people. "And it didn’t cost Warner Bros a thing" Sharp added. "Studios are simply looking to market their films to a million people, for free".

Social media content increasingly features hashtags like #Invitedby or #ADV, highlighting how studios and streamers seek visibility through influencers in exchange for exclusive event access. But things get more complicated. In 2023, Manuela Lazic reported in The Guardian that some influencer screenings allowed creators to post glowing reviews before embargoes lifted, something that’s strictly forbidden for journalists. The goal? Spark positive online reactions to increase the chances of a film’s success during opening weekend, the critical time for box office performance. However, this creates growing tension between groups, and perhaps it’s time to draw a clear line between the two professions, so one doesn’t constantly feel threatened by the other.

It’s a question of roles (and credibility)

Of course, the real issue isn’t the existence of a split. If there were enough work to go around, this would just be a functional distinction of roles, making it easier to organize press events. But in today’s unstable, underpaid cultural sector, defining boundaries helps preserve professional positioning. It’s no wonder that influencers sometimes face skepticism, while critics struggle for recognition. A disconnect has formed, one that risks undermining the credibility of an entire industry. Can we always trust glowing reviews? Do influencers truly like what they promote, or are they just doing a job? And now, do critics have to play nice just to be treated like influencers?

The value of the negative review

Questions reignited by a single phrase - "What’s up influencers!" - whose answers may only come years from now, when we can look back with some distance. Between invite-only influencer events and struggling film critics, something has shifted. Perhaps the one thing we should bring back is the value of the takedown. Something largely missing on one side (influencers) and now risky even for the other (critics). But that, for now, is another story.