In the study of film, the group ready to identify Steven Spielberg as an immensely influential, clever, and popular director, but not a particularly artistic filmmaker, is no minority. The reasons for this are not all that difficult to figure out, after you are familiar with a large number of his films.
Spielberg’s dramas are often overwhelmingly saccharine; his action films often sacrifice tension to safety and predictability; his historical films play loose with the facts and the tone, often in the interest of either the aforementioned sentimentality or else American nationalism; and many of his films across all genres rely on reductive, trite moralizing. A prime example of many of these issues is fan-favorite Saving Private Ryan, which represents at times a relentless, graphic, unsentimental portrait of armed conflict, but which is interspersed with and ends with a clarification that the film loves a good soldier, loves America, and loves any war America should happen to fight.
Praising and Criticizing Spielberg:
With all that stated and recognized, however, I do not count myself among those who dismiss Spielberg as a creator of blockbusters, and nothing more. Even if I would agree that many of his films (even many of his most popular films) do not stand up well under scrutiny, I think that some of his films do pass beyond the (unjustly maligned) category of entertainment, and into the hallowed category of art.
Spielberg Before the Sentiment: