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100The performances are riveting and the visuals are stunning. The boxing sequences are brutally realistic - there are no crappy Rocky theatrics here - and the humanity oozes out of every scene.
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100The film that many consider the finest of its decade, Raging Bull, has aged well, and not just because it was filmed in black and white.
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40As LaMotta, Robert De Niro gives a blank, soulless performance; there's so little of depth or urgency coming from him that he's impossible to despise, or forgive, in any but the most superficial way.
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100The most painful and heartrending portrait of jealousy in the cinema--an "Othello'' for our times.
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100Filmed in black-and-white and shockingly well acted by De Niro, Raging Bull suggests that if you are looking for the source of evil in the world, you don't have to look any further than yourself. It's inside you or it isn't. And it comes out or it doesn't. [19 Dec 1980]
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Another harsh character study, with poignant echoes of "Taxi Driver."
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100One of the bloodiest and most beautiful reflections on atonement in the Scorsese canon... It is still one of cinema's most breathtaking films.
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100Takes a cold, unflinching look at the violence both inside and outside of the ring.
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100A fiercely poetic study of violence. Stunningly shot in black-and-white. [14 Dec 1989, p.23]
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88The intensity of the film verges on the intolerable.
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100The entire film is played at such high pitch it may well exhaust audiences that don't come prepared. And, at the heart of the film, there is the mystery of Jake himself, but that is what separates Raging Bull from all other fight movies, in fact, from most movies about anything. Raging Bull is an achievement.
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100One of the most powerful boxing films ever made.
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70But the boxing sequences are possibly the best ever filmed, and the film captures the intensity of a boxer's life with considerable force.
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90What's most stunning about Raging Bull is the tension between 19th-century melodrama and 20th-century psychodrama, the narrative form brought into being by the conjunction of Freudian theory and the mechanics of the movie camera.