The high-point in the long fruitful partnership of Martin Scorsese and Robert De Niro, and widely reckoned one of the finest films of the 1980s, Raging Bull still looks like a contender. Based on the ghosted autobiography of 1940s boxing champion Jake La Motta, it's the most searing, intense and often painful to watch of Scorsese's explorations into the nature of masculinity and macho values. The rise of La Motta, the taut, cocky young fighting machine from the Bronx, is bookended by the scenes in which, as a paunchy, bloated has-been 20 years later, he's reduced to acting out self-pitying monologues in a tawdry Manhattan nightclub. The film is shot in crystalline black-and-white, masterfully framed and lit by Michael Chapman, partly as passionate movie-buff Scorsese's response to the way in which classic colour films were at this time being allowed to deteriorate into pinky-mauve travesties of their original rich tones.

Making their starring debuts, Joe Pesci as La Motta's long-suffering brother and manager, and Cathy Moriarty as his delicate-featured, abused child-wife, both grab their opportunities with both hands. But the film's dominated from the outset by De Niro's tour de force performance as the brutal, hair-triggered La Motta, viciously lashing out at the world in self-destructive fury. De Niro, who had first suggested the project to Scorsese back in 1973, threw himself into the role with near-demented dedication, submitting to a full year's punishing training programme to gain a boxer's physique and fighting skills--then taking two months off in Europe to stuff himself relentlessly till he had gained 60 lbs to play the slobbish, washed-up ex-champ. It's a performance of scary believability that makes you realise how casually, these days, the actor is coasting through his later career. Raging Bull was nominated for eight Oscars and picked up two, one for De Niro, and one for Thelma Schoonmaker's editing.

On the DVD: not much, just the original trailer, and a brief promo for some of MGM's other DVD releases. There's some useful production info in the printed booklet enclosed in the box, but couldn't they have got Marty to say a few words? The images look stunning in their original widescreen (1.85:1) ratio, but neither the Dolby Digital sound nor the print seems to have been remastered. Such a major re-release deserved a little more effort. --Philip Kemp

While every Martin Scorsese fan has her or his favourite movie, few would argue that Raging Bull is one of his very best. It strikes a near-perfect balance between formal experiment (it's shot in black and white and features heavily stylised, slo-mo fight sequences) and emotional content, delivered through the compelling true-life story of heavyweight boxer Jake La Motta (on whose autobiography it was based), and frequently scores high on critic and audience polls of the best films of the 20th century.

The traditional rise-and-fall biopic structure serves as a vehicle for a brutally tender distillation of most of the director's favourite themes (male violence, sexual jealousy, ambition and failure). Onscreen, it features two of his favourite leading actors, Robert De Niro (whose intense physical exertions and pasta diet for the role won him an Academy Award), and Joe Pesci, as La Motta and his brother Joey respectively. Trapped in a bubble of emotional and verbal inarticulacy, Jake and Joey's constant, repetitive bickering ("Did you fuck my wife?" La Motta asks over and over again in one scene, undaunted by however many times Joey denies it), is counterpointed by Jake's eloquence in the ring, manifestly the only place where he can express himself. As the title suggests, the guy's an animal, a real antihero in satin shorts.

The smouldering, statuesque Cathy Moriarty is on hand as Jake's long-suffering wife Vickie, as are a whole posse of Scorsese regulars. All are aided and abetted by several of Scorsese's most gifted and vital off-screen collaborators: screenwriter Paul Schrader (co-author of Taxi Driver), cinematographer Michael Chapman (Taxi Driver), and the indispensable Thelma Schoonmaker, editor of almost every Scorsese film since his feature, Who's That Knocking at My Door?. They don't come much better than this. --Leslie Felperin

Ultimate action adventure about alien invasion. The entire world is wiped out. Invaders have occupied the city of Tokyo. What is more shocking is the fact that they wiped out memories of humans? well almost everyone?.