THE French film magazine Cahiers du Cinema may be the most important, game-changing publication in the history of film, thanks to its role in the auteur theory and its instigation of the New Wave. The magazine also rethought film history in a way that honored directors like Hitchcock and Hawks at the expense of supposedly more serious French filmmakers. 
Some of Cahiers’ advocacy (Sam Fuller) now seems ahead of its time; other calls (Jerrry Lewis, “le Roi du Crazy”) still provoke head-scratching on this side of the Atlantic. Cahiers skeptics, especially among the Brits, have suggested that the magazine’s pantheon is geared so heavily toward explicitly visual filmmakers since its critics were too lazy to read English subtitles.
HERE is my review in today’s LA Weekly.