YOU can say what you like about it, Rocky (Pearl, 9.30pm) will always be grand entertainment. As a struggling screenwriter and actor known mainly for The Lords Of Flatbush, Sylvester Stallone wrote the screenplay for this in three days. It would be easy enough to say it shows, but it doesn't. Rocky, like Sylvester, has got the lot. This is a film that pushes all the right buttons and at all the right times. Better films have been made about sport (Raging Bull ), but for many, Rocky will always be the sports movie. It is the classic tale of a friendly ''bum'' who beats the odds and makes it to the top of the pile. It is as drenched in sentiment as it is in sweat and is as much a love story as a fight film. Set primarily in working class Philadelphia, it follows the fortunes of Rocky Balboa (Sly), a 30-year-old club fighter who earns his living as a collections man for a loan shark. His boxing career has hit the bottom (rocky bottom, in fact), but at least his love life, in the shape of Talia Shire, is looking up. Then a challenger's injury leaves the Ali-like world heavyweight champion Apollo Creed (ex-Oakland Raider line-backer Carl Weathers) without an opponent for his forthcoming title defence. The champ decides to give himself an easy ride by choosing Rocky, the ''Italian Stallion''. Rocky, of course, has other ideas. The scenes that follow are those that make the film so memorable: Rocky doing one-armed push-ups, pounding slabs of meat in a slaughterhouse freezer and making his now-famous run through the streets of Philadelphia and up the steps of its art museum. After Sly had written the Rocky screenplay he became determined to star in it himself. He turned down a studio's US$250,000 (HK$2 million) offer, won the part, and gave cinema one of its most enduring characters. Sly also choreographed the championship fight scenes. DIRECTOR Sydney Pollack tried to turn Havana (World, 9.30pm) into a contemporary Casablanca. It could never work, and it didn't. Havana turned into a big box office flop, but it would be unfair to malign it as a total stinker: Redford is ageing but good, the settings are striking and historically it's intriguing. Redford plays a professional gambler hoping to score in the waning hours of Batista's Cuba and Lena Olin, who has done much better than she does here, is the married Swede who distracts him from his game. For an hour or so it's nice to look at and interesting. But it tails off badly. THE martial arts film American Ninja 3 (World, 1.45am) is never good enough to be able to tail off. This was the penultimate in the Ninja series, a series that was already past its sell-by date. David Bradley replaces Michael Dudikoff as the hero and gets to fight all kinds of dastardly foes. AL Pacino, as a feisty lawyer determined to take on the Maryland legal system, carries . . . And Justice For All (Pearl, 12 midnight) almost single-handedly. But even Pacino cannot hide the fact that the script has holes in it. This marked Christine Lahti's feature film debut (in 1979). Watch out also for John Forsythe as a manic judge; he helps Pacino out in the acting stakes when the script gets too tough to handle. DR Crippen is best known these days for having a place of honour in the Chamber of Horrors at Madame Tussaud's waxworks Museum in London. He earned it by killing his wife in dastardly fashion in 1910, a crime retold in Great Crimes And Trials Of The 20th Century (World, 7.30pm). In the BBC Masterpiece Theatre Don't Leave Me This Way (World, 8.30pm), Janet McTeer and Imelda Staunton are academic sleuths trying to solve the mystery of the disappearance of an old friend. This is a sequel to A Masculine Ending, which ended last week. SKIPPY did much for the image of the kangaroo. But, surprising to find, they are not always as friendly. Man's Heritage (Pearl, 8.30pm) investigates the Eastern Grey variety from Eastern Australia. They can stand on their tails and kick imposters in the stomach.