In the practice of eco-film criticism, if we fail to carefully examine the matching degree between the object and the theory of criticism, it may lead to "forced interpretation." For lack of distinction between natural disasters and ecological disasters, many researchers mistakenly believe that the film "2012" depicts an ecological disaster, and criticize it by way of ecological criticism. In the eyes of these critics, "2012" can only be criticized as an ecological disaster. However, the criticism is confined to the category of natural environment, ignoring the possible ecological analysis of spiritual and social homeland consciousness. On the basis of recognizing the current situation, researchers should pay attention to three principles:discriminate the objects of criticism, get out of the narrow sense of ecological criticism thinking, and apply it flexibly in the specific historical context. Only by clarifying these issues can we consolidate the ecological aesthetics theory, thus avoiding its danger of collapse in the practice of ecological film criticism.