I would also say people saying it doesn't impact them worry me the most. I would assume this is the general opinion. Even if this is the outlet's policy to accept these things, understanding these things impact you, is the key to confronting these issues and mitigating their impact.
On the whole, it is good for watchdogs to be on the lookout. And for sure, there's an agenda to every move a PR rep makes. Know where your money is going and why.
I will say, on your point of understanding these things, that it's good to know the whole of it though, because it's not all insidious bribery. Fumito Ueda wants you to buy and have others buy his game, but he also just wants to celebrate the game being done, and he wants others who have been invested in this journey to share that sense of history. When PR sends out big swag for Uncharted and Halo, they're in part putting the package together to say, "Holy shit, isn't it awesome we finally have a new Uncharted/Halo?!?" There's the job involved in selling the product, but also there's the pride and excitement for the product, and the two are intertwined in a way that cannot be removed from the process (until we invent robot game reviewers who can actually review a game "objectively", of course.)
PR also has a budget that it has to spend or it will lose it, so it's better to spend it on fun stuff that celebrates titles PR reps think are cool ways to blow petty cash then it is to cede next year's PR budget (which you might actually need next year or some year in the future; you NEVER want to give up budget, so spend spend spend) back to accounting's discretion. If they like a game or brand and they like the crew who made a game, they're going to put a little extra oomph in, especially since it looks good to your bosses when your budget line-items synch up (whether caused or otherwise) with the sales charts of games you promoted hard.
And also, sometimes you just spend time and money because there's an expectation. GAFers have complained about there not being advertising for Last Guardian or other games in the past; there's a similar hype baselines in PR. If Ubisoft doesn't do something crazy for the launch of the next Assassin's Creed, is that a sign that Assassin's Creed is in trouble? If Activision just emails you a download code for Call of Duty, is this an important Call of Duty or just another entry in the annual franchise. They want everybody up and down the line to feel the "event" of the moment, and review scores maybe will or maybe won't factor into that moment, what's more important is that everybody gets it that reviews are out and the product is available and the moment is here.
So part of the job of journalism is to be at the circus (because negative or positive score, there are big clicks involved in bringing that circus feeling to readers on hot titles, so that's its own ring in the circus) without joining the circus yourself. It's all very amusing and exciting to see the circus in action, but at the end of the day, you don't get paid by being a circus fool or MC, you get paid for writing about what's at the heart of it all. And when that time comes, there's surely some challenge in putting the relationships and frivolity out of your mind, but PR doesn't pay you (and doesn't dictate advertising spends either, although we can talk about the common understanding versus the reality of Gerstmanngate another time...) Readers pay you. So you write for them. And if readers are happy with your work, and if your relationship with PR remains whatever the score (which is most often the case, as it's a long-term relationship and it's usually foolish to break up over one game score ... especially since PR usually knows when a game is going to suck), then you do it all over again next time.