Paths of Glory 1957

Michael Wilmington, Chicago Tribune: Both a terrifying, grim look at battle and an excruciatingly tense courtroom thriller. Together, it's a devastating indictment of war as conducted by opportunists and liars. Read more

Crosby Day, Orlando Sentinel: Kirk Douglas gives one of his finest performances as the intelligent and courageous Col. Dax. Read more

Jonathan Rosenbaum, Chicago Reader: This masterpiece still packs a wallop, though nothing in it is as simple as it may first appear; audiences are still arguing about the final sequence, which has been characterized as everything from a sentimental cop-out to the ultimate cynical twist. Read more

David Mermelstein, Wall Street Journal: More than 20 years after Mr. Cobb's novel was first published, Mr. Kubrick reminded us that human folly is rarely checked for long. A half-century on, he is still right. Read more

David Denby, New Yorker: The sardonic rhetoric may be laid on a little heavily at times, but the movie is blunt and scornfully brilliant. Read more

Ken Tucker, New York Magazine/Vulture: Paths of Glory is all about that greatest of all movie subjects: power. Read more

Bosley Crowther, New York Times: As for the picture's significance, it comes to an inconclusive point. Read more

Roger Ebert, Chicago Sun-Times: Songs at the ends of dramas usually make us feel better. They are part of closure. This song at the end of this movie makes us feel more forlorn. Read more

Dave Calhoun, Time Out: The final scene, in which Kubrick presents close-ups of soldiers watching a captured German girl being forced to sing for their pleasure is nothing short of masterful. Read more

Variety Staff, Variety: While the subject is well handled and enacted in a series of outstanding characterizations, it seems dated and makes for grim screen fare. Read more

J. Hoberman, Village Voice: There's a near mathematical logic to the scenario and the cruelty is compounded by class. Read more