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48 Hrs. (1982) Online

48 Hrs. (1982) Online
Original Title :
48 Hrs.
Genre :
Movie / Action / Comedy / Crime / Drama / Thriller
Year :
1982
Directror :
Walter Hill
Cast :
Nick Nolte,Eddie Murphy,Annette O'Toole
Writer :
Roger Spottiswoode,Walter Hill
Budget :
$12,000,000
Type :
Movie
Time :
1h 36min
Rating :
6.9/10
48 Hrs. (1982) Online

Oddball cop and tough guy, Jack Cates is the only survivor of a cop shooting and in hunting down the murderer collects Reggie Hammond from jail for 48 hours. Hammond is oddly motivated to help. The killer is searching for his stash of cash. Cates and Hammond who have the Black-white, cop-crook thing to work out make surprisingly good partners as they navigate through the city looking for their suspect.
Cast overview, first billed only:
Nick Nolte Nick Nolte - Jack Cates
Eddie Murphy Eddie Murphy - Reggie Hammond
Annette O'Toole Annette O'Toole - Elaine
Frank McRae Frank McRae - Haden
James Remar James Remar - Ganz
David Patrick Kelly David Patrick Kelly - Luther
Sonny Landham Sonny Landham - Billy Bear
Brion James Brion James - Kehoe
Kerry Sherman Kerry Sherman - Rosalie
Jonathan Banks Jonathan Banks - Algren
James Keane James Keane - Vanzant
Tara King Tara King - Frizzy
Greta Blackburn Greta Blackburn - Lisa
Margot Rose Margot Rose - Casey
Denise Crosby Denise Crosby - Sally

James Remar often went without any sleep before shooting his scenes in order to give bad-guy Ganz a more washed-out, psychotic look.

Reportedly, Eddie Murphy's paycheck was US $450,000 whilst Nick Nolte's salary was US $1,000,000. For the film's sequel Another 48 Hrs. (1990), reportedly, Nolte got US $3 million, whilst Murphy received US $7 million.

According to Nolte in Nick Nolte: No Exit (2008), most of the dialogue between him and Eddie Murphy was improvised.

The first scene at the police station, which begins at around the twenty minute mark, was apparently shot in a single take. It lasts three minutes, with no visible cuts.

Debut theatrical feature film of actor-comedian Eddie Murphy.

During the filming of a scene where Denise Crosby hits Eddie Murphy in the stomach with a rubber baseball bat prop, Murphy was afraid Crosby would actually hit him instead of stopping about a foot away like all staged movie blows. She demonstrated her control on both Walter Hill and Nick Nolte to assure Murphy, but ended up hitting him anyway during a take.

Eddie Murphy revealed on Inside the Actors Studio (1994) that he didn't know how to "act" when drawing a gun, so he simply did what he did in every movie since: impersonate the facial expression of a ready for battle martial arts legend Bruce Lee.

Walter Hill later allegedly felt that Eddie Murphy's 48 Hrs. (1982) character Reggie Hammond had been re-used and morphed into Axel Foley for Beverly Hills Cop (1984) and its sequels.

According to Eddie Murphy, he was almost fired for not being funny. He said he was not made aware of this until after the movie had wrapped.

Nick Nolte was top first billed whilst Eddie Murphy received second billing. This billing order would be reversed for the movie's 1990 sequel Another 48 Hrs. (1990) where Murphy would be billed first and Nolte second.

The movie during the late 1970s was originally designed as a vehicle for Clint Eastwood as the cop and Richard Pryor as the con. Around this time, Eastwood wanted to play a criminal and turned down the film and went and starred as a convict in Escape from Alcatraz (1979). The picture then went into turnaround for a time and didn't go back into development for another couple of years.

The film's original storyline, according to Wikipedia, "had the Governor of Louisiana's daughter kidnapped by a criminal, who strapped dynamite to her head and threatened to blow her up in 48 hours if the ransom was not met. The meanest cop goes to the worst prison in the state and gets out the most vicious criminal for his knowledge of the kidnapper who was his cell-mate".

Eddie Murphy states in his 2008 Biography special that his character's name was originally scripted to be "Willie Biggs." He had concerns with that name as it sounded too much like a "Hollywood, made-up, black guy's name." He suggested the last name Hammond based on a raspy-voiced, cool kid from his hometown named Terrance Hammond. Reggie was a compromise by having just the first name be a typical "Hollywood, made-up, black guy name."

According to Eddie Murphy, his agent at the time was Walter Hill's girlfriend and recommended him to Hill.

The Jack Cates character played by Nick Nolte apparently became the inspiration for the Sonny Crockett character on the later hit television series Miami Vice (1984). 48 Hrs. (1982) actress Olivia Brown went on to be a regular on the same show.

The band at Vroman's is "The Busboys", who in real life would open up for Eddie Murphys comedy concerts. During breaks in filming, Murphy would join the band for a musical number and ham it up.

Because of the violent shoot-out in the hotel lobby sequence, according to the book "Walter Hill: Last Man Standing" (2004) by Patrick McGilligan, Walter Hill was told he would never work for Paramount again. Hill did though, as he directed Another 48 Hrs. (1990) for Paramount.

Gregory Hines was the first choice to play Reggie Hammond but dropped out due to scheduling conflicts with The Cotton Club (1984). In fact, Eddie Murphy later confessed that he was the "fourth or fifth" choice for the part. Other actors considered for the role included Richard Pryor, the late Howard E. Rollins Jr. and a young Denzel Washington.

Eddie Murphy didn't start work on this film until a few days into principal photography as he was finishing season seven of Saturday Night Live (1975).

Debut film as a screen-writer for director Roger Spottiswoode.

Mickey Rourke, Sylvester Stallone and Burt Reynolds turned down the role of Jack Cates.

Reggie's line to Jack, "Forget this man, we ain't brothers, we ain't partners, and we aint' friends" is repeated by Zeus to McClane in Die Hard: With a Vengeance (1995).

The make and model of Jack Cates (Nick Nolte)'s car is a sky blue 1964 Cadillac DeVille convertible. The nick-name that Hammond (Murphy) calls Cates (Nolte)'s car was a "piece of shit sky-blue Cadillac". The make and model of Reggie Hammond (Eddie Murphy)'s car is said to be a Porsche in the film, meaning a Porsche 356 Speedster, but the vehicle, seen in both gray due to dust and once cleaned, black, actually is an Intermeccanica 356 A Speedster replica built by CMC (Classic Motor Carriage).

Paramount Pictures studio executives were concerned during shooting that the picture would be too violent to also function as an effective comedy. The hotel-lobby shoot-out was the execs' major grave concern.

David Proval served as Eddie Murphy's acting coach during filming.

According to the Nov-Dec 1982 edition of 'Coming Attractions' (USA) magazine, the film was "one of the rare Hollywood movies in recent years to make major use of black talent". The picture was "backed by a supporting cast of seven black actors and some two hundred black extras. In addition The Bus Boys, a mostly black rock group . . . perform[ed] four new songs written specially for the movie".

According to 'Allmovie', the movie "greatly bolstered the career of Nick Nolte and made comedian Eddie Murphy a bonafide box-office sensation". Murphy's debut in this movie, like Lauren Bacall's in To Have and Have Not (1944), is considered one of the most sensational debuts in screen history.

The first of 4 movies with Frank McRae as a police captain. The next would be Another 48 Hrs. (1990) then Last Action Hero (1993) , and finally Loaded Weapon 1.

The word "fuck" is used 48 times in its various forms during the course of the film. This appears to be only coincidental to the title however.

David Patrick Kelly also played a character named "Luther" in The Warriors (1979), also directed by Walter Hill.

Kris Kristofferson was at one point considered for the role of Jack Cates.

Walter Hill said that he is amused that people call this a buddy movie, as the two leads hate each other.

There are a couple of scenes that were shot but not included in either the theatrical or video/DVD releases. In the first scene, Jack and Elaine are walking through Chinatown during the daytime after the scenes in the police station following the hotel shooting and before Jack goes to get Reggie out of prison. In the scene, Jack apologizes for the way he snapped at Elaine (at the beginning of the film) and expresses his concerns about going after Ganz. The second is an extended version of the existing scene of Reggie at Vroman's as he's trying to hit on women at the bar. While both scenes are not included in the released version, parts of them are shown in the trailer and are often inserted during TV broadcasts to fill time due to the edited action scenes.

Debut feature film as a full producer for Joel Silver who previously on cinema features had only acted in co-producer, associate producer or executive producer capacities.

The seventh highest-grossing film at the American box-office for the year of 1982. The Virgin Film Guide said that the picture was "a big box-office hit".

In Walter Hill's original rough cut of the movie, Annette O'Toole had much bigger role and even one (maybe two) nude scenes. Some of the stills showing her character Elaine naked in the shower while Nick Nolte is looking at her did show up in movie magazines at the time and in some articles about O'Toole.

Michael Eisner, then head of Paramount, was worried that the film was not funny enough. Walter Hill and Larry Gross wrote more material tailored to Nick Nolte's and Eddie Murphy's personalities. By Hill's account, they rewrote Murphy's character right to the very last day of shooting.

James Horner reused the film's opening theme, with more craftiness in Commando (1985).

Jeff Bridges turned down the role of Jack Cates as he didn't want to be in a cop-movie. He later worked with director Walter Hill in Wild Bill (1995).

Prior to filming, Nick Nolte spent several weeks submerging himself in the role of Jack Cates by interviewing San Francisco, CA, police officers and eating foods he felt were fitting to the character.

The blue Cadillac used in this movie is now owned by Vanilla Ice and fully restored and painted in silver.

The brand of suit that Reggie Hammond (Eddie Murphy) wore was a Giorgio Armani and its billed in the closing credits. The value of the outfit as mentioned in the movie's storyline was US $500.

Sonny Landham, who played Billy Bear, later played a character named Billy in the 1987 film Predator (1987) which was also produced by Lawrence Gordon and Joel Silver. 1987 was also the year that Star Trek: The Next Generation (1987) debuted which starred Denise Crosby, who played Sally, the woman who hit Reggie with the baseball bat.

One of a number of collaborations of producers Joel Silver and Lawrence Gordon. 48 Hrs. (1982) was arguably the first ever "full" Gordon-Silver production.

The movie's promotional blurb started with the phrase "The Boys Are Back In Town". This was also the name of a song written specifically for the film. The track was never released when the movie came out and was never available on CD until the year 2000. The "The Boys Are Back In Town" wording was used as the main movie tagline for the film's sequel Another 48 Hrs. (1990). Though the original song was heard at the end of the sequel, the track wasn't included on the sequel's album either.

Actor Jonathan Banks later appeared in another Eddie Murphy movie that being Beverly Hills Cop (1984). However, their roles were reversed: Banks was the criminal, and of course, Murphy was the title character; a cop.

Clint Eastwood was originally approached to play Detective Sergeant Jack Cates. Eastwood wanted to play a criminal role and ended up playing one in Escape from Alcatraz (1979) instead. As a result, the film went into limbo for two years.

The name of the song that Reggie Hammond (Eddie Murphy) sings in prison was "Roxanne" by The Police. The tune is reprised by Murphy in the film's sequel, Another 48 Hrs. (1990).

Director of photography, Ric Waite, used Kodak 93, a high-speed film for nighttime and interior shots, which minimised lighting setups and allowed the production to work more quickly.

The weapon carried initially by Jack Cates (Nick Nolte) and then taken by Albert Ganz (James Remar) at the hotel shootout, is a Smith and Wesson model 29, 44 magnum with a 4inch barrel and custom wood grips with finger grooves. The loaner weapon issued to Cates at the station house is a Government model Colt 1911 A1, 45 automatic. Cates seems to carry this pistol in the same shoulder holster he used for his 44 revolver. In reality, this is impractical as the two weapons have very different contours. Probably a different holster was switched in for the automatic pistol. The weapon procured by Reggie Hammond (Eddie Murphy) while waiting for Cates at Vroman's, is a snub nosed Smith and Wesson model 19, 357magnum. The weapon used by Billy Bear (Sonny Landham) is a Colt New Frontier. This is basically the classic western six shooter only with more modern sights. However, the adjustable rear sight seems to have been removed from the weapon used in the movie. During his initial arrest, Luther (David Patrick Kelly) shoots at Cates with a Colt New Service revolver, most likely a 45 calibre issue. Oddly, the front sight appears to have been completely filed off of this weapon.

First of three collaborations of actor-star Nick Nolte and writer/director Walter Hill. The films are 48 Hrs. (1982), Extreme Prejudice (1987) and Another 48 Hrs. (1990).

This film's director Walter Hill's later movie Brewster's Millions (1985) had a number of elements associated with this picture. The later film featured a number of the same actors, props, locations (such as Torchy's Bar) and story-elements as this movie, such as a light-blue 1964 Cadillac convertible as well as featuring a number of the same supporting actors. Richard Pryor who stars in the later movie was the original choice for the part played by Eddie Murphy.

Paramount had previously rejected early drafts of the film, but suddenly rushed into production in spring 1982, urging Walter Hill and producer Lawrence Gordon to begin principal photography by mid-May 1982. However, the script had not been completed, and, according to Nick Nolte, Hill and co-writer Larry Gross continued to write throughout the shoot.

Despite Eddie Murphy's fame on Saturday Night Live (1975) and the credit he received for saving the show's reputation, Michael Eisner did not know who he was when he was suggested for the role of Reggie Hammond.

Many movie posters for the picture featured a preamble that read: "The boys are back in town. Nick Nolte is a cop. Eddie Murphy is a convict. They couldn't have liked each other less. They couldn't have needed each other more. And the last place they ever expected to be is on the same side. Even for... 48 HRS."

Sky blue Cadillac cars feature in such Walter Hill movies as 48 Hrs. (1982), Red Heat (1988) and Brewster's Millions (1985).

Crediting this film as the first "buddy/cop" movie is erroneous, besides the fact that Eddie Murphy's character's not a cop, it was preceded by Freebie and the Bean (1974) with James Caan and Alan Arkin.

Apparently, an earlier or the original version of the script had the two leads as two cops with no convict.

Third of four cinema film collaborations of actor James Remar and writer/director Walter Hill. The films include The Warriors (1979), 48 Hrs. (1982), Wild Bill (1995) and The Long Riders (1980).

Actors who appeared in this picture as well as director Walter Hill's earlier movie The Warriors (1979) were James Remar, Sonny Landham, Marcelino Sánchez and David Patrick Kelly.

Apparently, Walter Hill met Eddie Murphy during a recording of Saturday Night Live (1975).

According to the book "Walter Hill: Last Man Standing" (2004) by Patrick McGilligan, the original high concept for the movie was conceived by producer Lawrence Gordon.

This movie is not actually the first ever movie to be titled 48 Hrs. (1982). The British Ealing film Went the Day Well? (1942) was retitled as "48 Hours" for its American release stateside around thirty-eight years earlier in 1944.

The background score being played in the scene featuring Jack and Reggie tailing Luther is the same as used in Commando (1985) which came out three years later. Both films were scored by James Horner and in both films, the character being tailed is played by David Patrick Kelly and he is seen driving a Porsche - in this case it's a replica Speedster and in that film it's a 911.

The license plate on Reggie Hammond (Eddie Murphy)'s convertible is the same as the one sported by the brown 1977 Pontiac Firebird Esprit that Ryan O'Neal's character drives in the 1978 film The Driver (1978): '487 BAK'.

Sonny Landham, who played Billy Bear, went on to direct and appear in the movie Billy Lone Bear (1996).

This Paramount Pictures production was originally in development at another studio, Columbia Pictures, which was the regular production house for star Richard Pryor, who not surprisingly, was originally tagged for the convict role played by Eddie Murphy. Around the time of the late 1970s and early 1980s when 48 Hrs. (1982) was in development, Pryor actually played a prisoner twice, in Stir Crazy (1980) and Bustin' Loose (1981). 48 Hrs. (1982) director Walter Hill later worked with Pryor on Brewster's Millions (1985). Pryor and Murphy later star-teamed together in Harlem Nights (1989).

Breakthrough film role of actor-comedian Eddie Murphy.

First of two "48 Hours" movies. The second and final movie, Another 48 Hrs. (1990), was made and released about eight years after this picture. There was once talk of there being a third film, yet another 48 Hours film, but this never eventuated.

Second of three collaborations of actor David Patrick Kelly and writer/director Walter Hill. The films include The Warriors (1979), 48 Hrs. (1982) and Last Man Standing (1996).

Third of five collaborations of actor Brion James and writer/director Walter Hill. The films include Hard Times (1975), 48 Hrs. (1982), Red Heat (1988), Southern Comfort (1981), and Another 48 Hrs. (1990).

Fourth of seven cinema film collaborations of producer Lawrence Gordon and director Walter Hill.

A road sign on a street lamp-post in this Eddie Murphy movie reads "EDDY".

Margot Rose and Denise Crosby would both go on to appear in Star Trek roles. Crosby in Star Trek: The Next Generation (1987) and Rose in Star Trek: The Next Generation: The Inner Light (1992).

This is the second movie that David Patrick Kelly (Luther) and James Remar (Albert Ganz) are in together. The first was The Warriors (1979).

The original premise had the Governor of Louisiana's daughter kidnapped by a criminal, who strapped dynamite to her head and threatened to blow her up in 48 hours if the ransom was not met. The meanest cop goes to the worst prison in the state and gets out the most vicious criminal for his knowledge of the kidnapper who was his cellmate.

In addition to actor Sonny Landham playing "Billy Bear" in this film and "Billy" in the movie Predator (1987), as previously noted, both characters also display very large Bowie style knives while shirtless during the film.

The garage where Reggie's car is stored is the same garage where Dalton's Mercedes is stored in 'Road House' and vice versa.

While in the bar the bartender says that Ganz's girlfriend lives up the street where Chinatown starts. The movie takes place in San Francisco while the bar they leave from called Torchy's which was in Los Angeles.

Originally, this film was expected to be released in 1,300 theaters on December 17, 1982, but production notes listed a December 10, 1982 release date. The release date for this movie then moved to December 8, 1982 in selected theaters throughout Los Angeles.

Included among the American Film Institute's 2000 list of the 500 movies nominated for the Top 100 Funniest American Movies.

David Patrick Kelly and James Remar both had starring roles in the 1979 film "The Warriors". David Patrick Kelly had portrayed a character named Luther in both of these films. Both films were written and directed Walter Hill.

Sonny Landham who plays Billy Bear, also played a character 5 years later in Preador(1987) named billy

Johnathan banks appered 2 years later in Beverly Hills Cop(1984) also starring Eddie Murphy, in this film they never shared a scene

Walter Hill: [bar] One of a number of Walter Hill movies that feature a bar / night-club called "Torchy's".

Body Count: 9. (Plus one character presumed dead, but it's unconfirmed).


User reviews

Hiclerlsi

Hiclerlsi

48 Hrs. (1982) is an action classic the only original best buddy cop flick from the 80's. Is an action cop flick that I love to death and it was honestly the first action film I saw as a kid. I grew up watching this film and in my opinion is still my favorite action buddy flick. This is first time we see Eddie Murphy in action before he went in making Beverly Hills Cop (1984), beside Beverly Hills Cop this is one if his best movies of the 80's. It is actually my favorite Walter Hill film. Like I said I grew up watching this film, I loved 48 Hrs. so much that I hardly convinced my mom to watch this movie with me and the sequel of this film. I read on Charles Bronson's Murphy's Law (1986) flick that the storyline of that film the pairing a cop with a convict was popular in Hollywood during the 1980s after the success of this film 48 Hrs. (1982). Nick Nolte and Eddie Murphy are sensational in this film, the action is great and the plot about this film is well paced it goes fast and it is entertaining. I really enjoy watching this movie and honestly I love it more, than I would love the sequel, the sequel can't even hold a candle to this film.

"Yeah. Well, I'm real impressed with you too, man. It takes a real-skilled cop to kick in the bedroom door of a couple of dykes!"

Plot: A hard-nosed cop reluctantly teams up with a wise-cracking criminal temporarily paroled to him, in order to track down a killer.

The film is actually about a $500,000 stashed cash and two cop killers who are running around and killing cop,s while they want to get the hands of this cash. A tough cop who is a survivor in a shoot out in the hotel from those two killers, pairs with a convict from prison to help him to get and catch those two killers. They only have 48 Hrs. before the cop has to bring the convict back. They don't make films like this anymore, I really love action films from the 80's and this one was the first one I have saw as a kid. My favorite part in the film is the stake out scene: Jack (Nick Nolte) and Reggie (Eddie Murphy) head out to the parking garage, and they park across the street from the parking garage, waiting till the parking garage opens which it does around 7.00 am in the mornings and they spend the night there. Next morning Jack (Nick Nolte) brings a café drink to Reggie (Eddie Murphy) and wakes him up. The similar thing happened to me when I was 12 years old. My mom drove me and my dad with the car in the city 4.00 am in the mornings it was night than and my dad went with his bike delivering news paper, me with my mom waited on him in the car till his shift ends. During the waiting I fall a sleep, when I woke it was past 7.00 am and my mom brought me food from the store in the car. That moment I remember this scene in this film. It is a beautiful child memories of mine on my mom and 48 Hrs. (1982) is my childhood movie and it is memories on my childhood. 48 Hrs. and Beverly Hills Cop 1 & 2 are my favorite Eddie Murphy films from my childhood that I love to death.

This is Nick Nolte's best action flick that I love to death and only one that is worth to watch. I love Music theme by James Horner that I love so much including the opening scene that was awesome. Honestly James Horner made the same music theme for Commando (1985) Arnold Schwarzenegger's movie. I love the shout outs, the action scenes, the dialogues and I also love the main lead roles from Nick Nolte and Eddie Murphy, Jack Cates and Reggie Hammond are my favorite characters. This is the only original action film, but I think it was unnecessary making a sequel (Another 48 Hrs.) that I honestly think Nick Nolte made a lousy awful job reprising his role and Eddie Murphy was even worst by shouting and punching Nick Nolte. Before I finish my review you have a few cast that are memorable here: You have: James Remar from Dexter playing the main villain, David Patrick Kelly from Commando and The Warriors, Sonny Landham from Predator, Annette O'Toole from Smallville, Jonathan Banks from Beverly Hills Cop and Olivia Brown from Miami Vice. I have this film on Blu-ray I used to own the DVD but I switch it for Blu-ray.

48 Hrs. is a 1982 American action comedy film directed by Walter Hill, starring Nick Nolte and Eddie Murphy (in his film debut and Golden Globe Award-nominated role) as a cop and convict, respectively, who team up to catch a cop-killer. The title refers to the amount of time they have to solve the crime.

Overall: Is my favorite action flick from my childhood and I love it to death. This flick get's a solid 10 by me and it deserves it.
Perdana

Perdana

This is the one of the movies that kicked off the buddy cop formula. Technically, Nick Nolte's the only cop, but other films have tried to imitate the style by having a tough, cranky, by-the-book cop (Nolte's character) paired off with a loose, easygoing, unorthodox cop (like Murphy's character). Some of these "imitators" have failed miserably and even those that succeeded don't match up to "48 Hours."

I haven't seen the unedited version of this movie in over ten years (it plays on TV like 4 times every month), and even when I did catch it on TV, I caught it in bits and pieces. Now that I've seen it straight-through, in its uncut form, I can regard this as an overlooked classic. Watching Nolte as the gruff, chain-smoking Jack, I thought to myself, "He owns that part." Many actors have tried to take on that same role, but nobody plays it better than Nolte. And the same goes for Eddie Murphy. His talent has been taken for granted over the recent years, since his career has hit a major slump. And rightfully so. He should choose his roles much more wisely. How do you from doing such fun, memorable films as "48 Hours," "Coming to America" and "Trading Places" to doing "Showtime" and "I-Spy." This movie proves that Murphy can go leaps and bounds with his comic talent, if the script is well-written. The scene in the all-white, country-western bar, where Murphy shows off his skills as an interrogator, is a classic.

The film is directed by Walter Hill, who's great at directing action sequences. So the movie packs a punch in both the action and comedy department. Nolte and Murphy's chemistry is priceless, and the banter between them is sharp and hilarious. One of my favorite examples is when Murphy asks Nolte, "Can you tell me a bedtime story?" Nolte responds, "F**k you." "That's my favorite one." Of course, Murphy gets most of the credit for being the comic relief, and he is terrific in one of his best comic performances, but Nolte belts out just as many funny lines as him, though he's the official straight man. He never seems to say anything intentionally funny, but that's what's funny. He says things that are hilarious, but sounds dead serious about them. And of course, it's also hilarious to watch him react furiously to Murphy's taunts.

Those who haven't seen "48 Hours" should really check it out, because it's an action classic! Sure, the "Rush Hour" films are good, but Chris Tucker and Jackie Chan don't have close to the same magic as Nick Nolte and Eddie Murphy! THIS is how an action/comedy is made!!

My score: 9 (out of 10)
Kadar

Kadar

It's the chemistry between Nolte and Murphy that makes this work, plus the fact that both men really attempt to 'get into the skin' of their character, something mostly ignored in other examples of this genre. Director Hill knows he's got a great team in front of the camera, and all that remains is for him to incorporate some spectacular action sequences around them. This he does competently. That one-two punch is what gives the movie its fireworks.

The banter and situations concerning the characters are also gleefully un-PC. It'd be interesting to see what a studio and director would make of the same premise in these 'enlightened' times. Murphy's comic stage persona is less restrained here than it would be in later films, and the results are often shamefully funny.

Don't expect Shakespeare, there's far too much cursing and other unsavoury shenanigans going on for that; do expect a pacy and entertaining early example of the 'buddy thriller'.
IWantYou

IWantYou

It seems that after 48 HRS, buddy cop movies had a simple plot. Catch the bad guys while being as funny and silly as possible. There is alot of bad buddy cop movies, this is one of the best. Considering one is a cop and the other is a convict it shouldn't really be considered a buddy cop movie. I watched this film a couple of days ago because it had been awhile since I watched it a thousand times on cable television as a kid. I was surprised at the amount of racial comments made in this film, I guess as a child I didn't really pay attention to those comments. The movie is still solid, definitely one of Walter Hill's best films. Eddie Murphy is perfecting his onscreen personality in his first film. Beverley Hills Cop wasn't far behind. Nick Nolte feels like a tired detective in this film. Nolte has always seemed like the perfect tired private eye or detective to me. The rough voice, the lined and aged face, he just seems right. The movie is exciting and tight, one of the best action films of the eighties.
Musical Aura Island

Musical Aura Island

This gritty city buddy picture about an incorruptible, hard-as-nails, San Francisco plainclothes detective and a convict on a weekend pass who team up to track down a couple of ruthless, cold-blooded killers with a half-million dollars at stake qualifies as an above-average opus. Nick Nolte was well on his way to super-stardom when he shared the screen with "Saturday Night Live" sensation Eddie Murphy in his feature film debut. "Hard Times" writer & director Walter Hill and scenarist Roger Spottiswoode deserve credit for conjuring up--with co-scribes Larry Gross of "Streets of Fire" and Steven E. de Souza of "Die Hard"--a tough-guy action thriller that was short of originality but long on the charisma that its two stars generated. Reportedly, producer Lawrence Gordon had an idea that barely resembled the outcome. In the Gordon premise, a criminal abducts the Louisiana governor's daughter, attaches an explosive device to her head, and demands ransom in 48 hours. The brutal cop assigned to the case recruits the kidnapper's prison cell mate to assist him on the investigation. Actually, they could have made the Gordon plot as a straight-to-video spin-off.

After a hardened criminal, Albert Ganz (James Remar of "The Warriors"), escapes from a California chain-gang, Ganz with his crazy-as-a-loon Indian partner Billy Bear (Sonny Landham of "Predator"), they head for San Francisco to get the cash that their cohorts, Luther (Daniel Patrick Kelly of "The Warriors") and Reggie Hammond (Eddie Murphy) have secretly stashed in a convertible WV sports car in a garage. Rough-hewn Jack Cates (Nick Nolte of "North Dallas Forty") decides to take a chance on a loud-mouthed convict who knows Ganz. Reggie has served almost three years on his sentence in San Quentin with six months left when Cates comes a-calling. Reggie convinces Cates to spring him and Cates forges a signature to get Reggie out of stir. The two have a hard time getting along initially but by the dust has settled, they are literally as thick-as-thieves. The shoot-outs are as thuggish as the characters squeezing the trigger as our heroes hunt down the hair-trigger villains. Neither Ganz nor Billy Bear show any qualms about blasting cops and taking hostages. Literally, there is never a dull moment. "48 HRS" may not have been the first cops and robbers shoot'em up in the 80s to feature a foul-mouthed, screaming police superior--Frank McRae fits the bill to a tee--but it was probably near the top.

Some say "48 HRS" spawned the police buddy picture genre, but they are presumptious. The earliest buddy picture about cops was "In the Heat of the Night" (1967) with Sidney Poitier and Rod Steiger. "48 HRS" might have inspired the pairings of other stars in an urban actioneer, and the Jack Cates character served as a prototype for Mel Gibson's suicidal "Lethal Weapon" hero Martin Riggs. You cannot help but wonder if Spottiswoode and Hill weren't inspired by Akira Kurosawa's 1949 crime thriller "Stray Dog" because Cates loses his .44 Smith & Wesson revolver early on during the action. Cates is trying to help Detective Algren (Jonathan Banks of "Beverly Hills Cop") and Detective Vanzant (James Keane of "Apocalypse Now") make an arrest at the Walden Hotel. Ganz surprises the cops when he slips out of his room by another door and comes up behind them in the hallway. A gunfight erupts. Vanzant takes a couple of slugs in the chest, and Ganz threatens to finish off Algren. Ganz grabs Cates' handgun just as Toshirô Mifune lost his pistol in "Stray Dog." Nolte and Murphy make a perfectly matched but mismatched heroic pair who spend most of their time in each other's faces. They develop a grudging respect for each other after a savage slugfest on the sidewalk. Miraculously, Reggie's Giorgio Armani suit isn't torn to shreds during their knock-down, drag-out brawl. These guys run into more trouble from the law as they close in on Ganz and Billy. At least twice they find themselves interfered with by men in blue. Eventually, they corner the villains in Chinatown and blast it out with them. The ending with Ganz holding Reggie at gunpoint as a human shield against the sullen Cates is straight out of "Dirty Harry." The relentless action, the wisecracking--mostly improvised--dialogue, and memorable performances by Nolte and Murphy boost this routine thriller. Murphy's scene in a redneck bar as he masquerades as a cop makes this police movie worth watching. Indeed, Murphy garnered an Golden Globe nomination for his debut performance. Hill anted up a sequel "Another 48 HRS" about eight years later with Nolte and Murphy reprising their roles.
Qusicam

Qusicam

Nick Nolte is well-cast as the average tough, somewhat maverick cop who gets involved in a case involving an escaped convict and his partner and their psychopathic rampage through San Francisco. He's forced to enlist the help of fast-talking incarcerated con man Eddie Murphy, who has dealt with one of the killers in past. Murphy insists he be let out for 48 hours in order to secure a stash of money he has that the killer wants. Nolte and Murphy are a mismatched pair, Murphy being the sly young criminal, Nolte being a tough, somewhat ignorant cop who tires easily of his partner's fast mouth and wayward way of giving information, and constant attempts at getting a gun.

There's one good scene where Murphy walks into a redneck cowboy joint with a bet about what it takes to be taken seriously as a cop, and trades places with Nolte as a detective trying to get information on where one of the guys is. Later on, Nolte and Murphy get into a fight because Murphy won't say what he knows the escaped killer is after.

Walter Hill creates one of the best cop movies ever, and a perfect movie to act as Murphy's first real vehicle for his comedy style. However, this is not comedy like, say, "Trading Places." This movie is more the comedy style of the first "Lethal Weapon" movie. Alternately serious and funny.
Malien

Malien

48HRS. (1982) *** Nick Nolte, Eddie Murphy, James Remar, David Patrick Kelly, Sonny Landham, Frank McRae, Brion James. One of the best `buddy' action films of all time: Nolte is in rare form as perpetually growling, angry heavy – drinking San Francisco cop Jack Gates who has his hands full when a crazed cop-killing escaped con and his partner go on a rampage with his only resort being motormouthed, street smart Reggie Hammond (Murphy in his scene-stealing big screen debut that made him an overnight sensation in addition to lighting the fuse while the star of `Saturday Night Live') who coincidentally is serving a sentence for being one of the maniac's former crew members on their last gig together (a cache of money only Reggie knows where is hidden). With only 48 hours on leave from the joint the odd couple are forced to help each other overcoming their own racism, violent means and genuine opposites attract mojo working in overdrive. High octane action directed sleekly by Walter Hill and the unexpurgated energetic glee Murphy exudes kicks the film into overdrive. Look for The Busboys (Eddie's fave band) providing the ironic cover of `The Boys Are Back in Town' and for trivia buffs, that's Olivia Brown as the object of Eddie's libido, who would go on to co-star in tv's `Miami Vice' and indie star Chris Mulkey in a bit part as a uniformed cop.
Qutalan

Qutalan

Only a privileged few who remember "48 Hrs." acknowledge it as the primary influence of the buddy-cop films of the 80's ("Lethal Weapon", "Miami Vice"). Nick Nolte plays Jack Cates, a rusty, cranky, tough-guy cop working the homicide department in San Francisco. When a violent chain-gang escape reunites two hardened criminals (the greasy-looking Ganz and a towering Indian named Billy Bear) who subsequently murder two police officers and a prison guard, Cates is assigned to babysit paroled convict Reggie Hammond (Eddie Murphy), an old member of Ganz's gang. Reggie has been released for one weekend (hence the title) to aid Jack in capturing these two cop-killers. Unbeknownst to Cates, Ganz & Billy Bear are not simply out on a killing spree but rather in search of a very important briefcase that belongs to Reggie.

I can't think of another film debut as explosive as Eddie Murphy in "48 Hrs.", even though Murphy's work on "Saturday Night Live" already tossed him into the public's consciousness. It's also worth noting that because director Walter Hill is known for casting interracial leads in his non-western films ("Brewster's Millions", "Crossroads", "Supernova"), never before had we seen a black man act like this in a movie; assured, aggressive and confident to the point of being cocky. It would be easy to dismiss Murphy's character as a black stereotype; well-dressed, horny, smooth-talking, bantering, but Murphy pulls his character away from stereotype cobwebs with unfiltered charisma and instinct. Think of it, most people who now wail away the chorus to "Roxanne" are invoking Murphy instead of Sting (and what a hilarious introduction that is). Also, there is the unforgettable sequence where Reggie takes over a redneck bar, posing as a cop! It's the most magnetic scene in the film, and Murphy delivers ("You know what I am? I'm your worst f***in' nightmare! That's right I'm a nigger with a badge and I got permission to kick your f***in' ass whenever I feel like it.")

Obviously, this film wasn't written as a comedy. Nolte spends much of his time hurling every kind of racial epithet imaginable at Murphy when he's not chain-smoking or guzzling from a flask. Murphy injects his humor into the story without disrupting the movie's violently grim tone, and Murphy & Nolte are excellent at creating an oil-and-water duo that keeps them at odds for most of the film. There are no stylistic explosions, but there are some tense gunfights including a chase scene in a train station and a shootout that employs a convertible and a public bus. Composer James Horner, who would come to prominence in the 90's as one of the more reverent film composers, creates an unusual, percussion-driven score heavy with Caribbean flavor. It's works well, adding an element of heat while Jack & Reggie cruise San Francisco with the top down. The film has thankfully dated pretty well, and sometimes even holds the faint resemblance of a 1970's cop film (I'm sure interracial blaxploitation movies like "Across 110th Street" served their influence). Of all of Walter Hill's work, "Crossroads" remains closest to my heart, but this is certainly his most mature effort. Expect to laugh, but expect to be shaken too.
Xtintisha

Xtintisha

A seriously edgy and explosive thriller about an untidy yet tenacious San Francisco cop, Jack Cates (Nick Nolte), who must take Reggie Hammond (Eddie Murphy), an ultra-cocky convict with him and search around the city for a brutish cop-killer, Ganz (James Remar)and his nearly out-spoken Indian accomplice, Billy Bear (Sonny Landham) and take them down in less than forty-eight hours. What made me enjoy the movie is the trust and respect that the Murphy and Nolte characters begin to show, even there are moments where they want to pound each other's head in. In addition to Nolte and Murphy (who's in his film debut), Remar is pretty good here despite having a limited amount of screen time. The photography of the city by Ric Waite is well, excellent and the skillful direction by Walter Hill can't go unnoticed. "48 Hrs." may not look as well-crafted as "The French Connection", but Hill sure knows how to make something memorable out of nothing.
Majin

Majin

Walter Hill is one of those directors who seems never to make an average film. His movies are, generally-speaking, either very good or very bad. 48 Hours is one of his "very good" offerings. It gives Eddie Murphy one of cinema's most unforgettable movie debuts, and invents the conventions of the buddy cop genre that were to become blueprints for years to come. Every buddy picture after 1982 - including Lethal Weapon, The Last Boy Scout, Fled, Bad Boys, and a thousand more - owes something to 48 Hours.

The film opens with psychopathic Albert Ganz (James Remar) escaping from a chain gang. Determined to track down Ganz, tough cop Jack Cates (Nick Nolte) springs a fast-talking convict named Reggie Hammond (Eddie Murphy) from jail for forty-eight hours, during which time the mismatched duo must find their quarry. Cates doesn't like blacks, and Hammond doesn't like cops, so before they can even get to the business of tracking down their man they first have to come to terms with working alongside each other.

Fast-paced, energetic, foul-mouthed and funny, 48 Hours is simply a great ride. Nolte underplays brilliantly, wisely allowing Murphy to handle the loud and showy role while he etches a gruff, rugged characterisation as a cop on the warpath. The leading characters are rounded off wonderfully by James Remar, as a genuinely bad "baddie". If the plot to 48 Hours sounds like a collection of all the clichés and predictabilities that ruin most films, it's important to remember that before this film nothing like it had really been done. These plot devices and conventions are only considered "cliches" nowadays because 48 Hours was so influential, not to mention frequently-imitated, in the ensuing years. James Horner's music score is perfectly judged too. Finally, no review of 48 Hours would be complete without some acknowledgment of the film's most famous scene. I'm talking - of course - about the bit where Murphy causes a stir in a redneck bar. More often than not famous movie scenes fail to live up to their lofty reputation, but in this case that simply isn't so. It really is an electrifying screen moment.... in a film that really is an electrifying screen experience!
Ohatollia

Ohatollia

Besides being a nostalgic walk through the San Francisco of my childhood, 48 Hours apprised me of something else--it was incredibly racist. I'm not talking about the subtle innuendo type racism; but the brash, in-your-face, N-word using, unabashed racism. Now, I know that it was done all in the name of comedy but I was shocked. I saw this movie so many years ago, and really, I'm sure I never saw the whole film because no way my parents would have allowed it. I think the little bit I did see was by popping in the VHS when they weren't home and I know now that I understood very little of it.

This movie absolutely wouldn't fly today. The closest thing I've seen to it is Rush Hour, and even as much as Chris Tucker pushed the envelope with the subtle digs at Jackie Chan's Chinese heritage, you definitely saw that a line was drawn. In 48 Hours, no line was set--which is maybe why it was such a hit.

Eddie Murphy was funny, though not nearly as funny as in other movies. Nick Nolte was all too good as the raspy voiced, surly cop. And Oh how can I forget the loud Black police captain played by Frank McRae. Did 48 Hours start that trend? 48 Hours is a classic but not nearly what I remember now looking through the lenses of an adult.
Gavinrage

Gavinrage

The incredible box office success of "48 Hours" was attributable to its brilliant combination of action, pace and comedy and the pairing of a couple of guys whose relationship was a continuous source of entertainment. This formula proved to be so successful that it blazed the trail for the whole genre of "buddy cop movies" that followed. "48 Hours" was also significant, however, for being Eddie Murphy's first film and the one that made him into an instant star.

Detective Sergeant Jack Cates (Nick Nolte) is a tough San Francisco cop who's out for revenge after two of his colleagues are killed by escaped convicts Albert Ganz (James Remar) and Billy Bear (Sonny Landham) in a shootout at a local apartment building. Jack's investigations soon reveal that another member of their gang is still in prison serving a three-year sentence for robbery and so he arranges for Reggie Hammond (Eddie Murphy) to be released on a 48 hour pass so that he can help to track down the two killers.

Reggie proves to be useful in assisting Jack's pursuit of Ganz and Bear who'd killed a couple of guards when they broke out of prison and are now intent on finding the $500,000 that they stole before being sent to jail. Reggie discloses that the money was stashed away in the trunk of his car which had been parked in a garage for the 30 months that he'd been in prison. Predictably though, Jack and Reggie's mission to recover the money and bring Ganz and Bear to justice within the 48 hours available, proves to be both challenging and extremely dangerous.

The relationship between Jack and Reggie is so highly-charged as it develops from open hostility to mutual respect (and eventually friendship) that it becomes absolutely fascinating to watch. It's also incredibly funny because they're so different and their interactions are so abrasive. The dialogue is sharp, witty and often coarse and when they trade insults (in pre-politically correct language) their brilliantly-written quick-fire exchanges are delivered with tremendous panache.

Nick Nolte is excellent as the gruff, hard-drinking detective who chain-smokes, always looks dishevelled and has a totally dysfunctional relationship with his badly-treated girlfriend Elaine (Annette O'Toole). Eddie Murphy is sensational as Reggie, who's a fast-talking, wisecracking, smartly-dressed ladies man with a lot of attitude and reasons of his own for being prepared to help Jack. Murphy's first appearance in the movie is very memorable because of the excruciating way in which he sings "Roxanne" and the now-legendary scene in which he takes control of a redneck bar while posing as a police officer is still terrific and laugh-out-loud funny.

In retrospect, it's clear that, as well as being a fantastically successful movie that's hugely entertaining, "48 Hours" also proved to be far more influential than anyone could possibly have imagined at the time of its original release.
Delari

Delari

The two main characters in this movie, reggie hammond and jack cates, are caricatures of the stereotypes present in modern/industrial society. When the movie began I thought I would not like it because the characters were so stereotypical, but director Walter Hill did a fantastic job bringing the characters to life as real people. This movie is not interested in being politically correct. In the beginning Murphy is a pussy hunting, lazy convict and Nolte is a cornbred, cracker police officer. By the end of the movie we see that the two characters have become good friends and are not so different(spoiler: Nolte is a pretty dirty cop that fakes signatures, beats prisoners and drinks).

The direction is good and the story is very simple. The great action sequences and the chemistry between nolte and murphy make this a classic.

Spoilers My favorite parts were when Nolte stuck up for Murphy despite the criticisms and slurs the police captain was directing at Murphy and the part when Murphy and Nolte were separated and Murphy could have bolted and left Nolte to get in trouble but he called the station and gave nolte a hint to where he was located. I liked the part when Nolte gave Murphy time to get laid.

9/10
EROROHALO

EROROHALO

One of the best. Brilliantly acted, very good scenes, the scene in redneck bar and the scene where the boss has a rant after the infamous bus losing incident are the best. The boss is excellent. The way he delivers his lines with such anger, and the lines themselves are very hard. "YOU GO F*** YOURSELF CONVICT!!!" is my favourite of the whole film. The look on Eddie's face is priceless. Just proves how class an actor he is, if proof be necessary.

Redneck bar scene is equally good. The music the band are playing fits the scene beautifully. The dancing stripper adds to the value of the scene too. She's great.

A flawless film, Eddie Murphy's best work too in my opinion.
ᴜɴɪᴄᴏʀɴ

ᴜɴɪᴄᴏʀɴ

I regard 48 Hrs as an action adventure with a comedic debut performance by the then 21 years old, Eddie Murphy.

Hard nosed, hard drinking cop Jack Cates (Nick Nolte) pulls a convicted bank robber Reggie Hammond (Eddie Murphy) from prison on a forged 48 hours pass to help him capture Hammond's old partner, Albert Ganz (James Remar) who killed Cates fellow cop.

Ganz himself escaped from prison with the help of native, Billy Bear and both go on a killing rampage as they look for the half a million dollars that went missing after one of their robberies.

Reggie knows where the money is but wants to stay one step ahead of Cates. Both distrust each other but need to work together to catch Ganz.

Walter Hill made a tough thriller with plenty of violence and cursing but imbued it with the humour of Murphy fresh from Saturday Night Live. Without his presence this would just be a forgotten police action film from the 1980s. He owns that scene when he pretends to be a cop at a country & western dive bar as he shakes down the patron.

Murphy elevates the film with the help of some off beat support by Remar and David Patrick Kelly. Nolte plays off well with the street smart, lean and hungry Murphy as the gruff cop who drinks too much and is too flabby.

In the sequel, Another 48 Hours, eight years later it was Murphy who would be flabby and out of shape going against a leaner, meaner Nolte.
Mojar

Mojar

Watching it just recently again, 48 HRS, is a well formulated movie, and first rate film making done solid, with a great script and two great bolstered performances to boot, especially Murphy, in still what I believe is one of his best performances. The movie is well plotted, even though we know we are walking that predictable path, to where the next scene will take us, like a lot of eighties movies did. On a quest for revenge, for two cops dying, in front of his eyes, is hot dog cop, Jack Cates (Nolte giving us another great character performance). They were killed by escaped and very dangerous prisoner, Ganz, (a splendid James Remar) and buddy, Billy Bear (Sonny Landham) who sprung his mate out. Cates enlists help from prisoner/expert thief, Reggie Hammond (Murphy) who he takes into his custody for 48 hours. He has ties with our dangerously violent cop killers, who are after this money, Reggie has stashed away somewhere. Reggie wants to protect his money, Nolte just wants to blow our murderous duo away. Featuring quite a bit of Commando music, a lot of hostility and hate, not just from Nolte, that doesn't take s..t, a bit of violence, a little t and a from some hot broads, this is a hard edged cop film, featuring other good performances too, like David E Kelly, as the luckless loser, Luther, who in one scene, Murphy, causes a considerable amount of pain too. Overall what I love is, that 48 HRS is a cop film with a great recipe of comedy and drama, entwined, Murphy, who we have to thank a lot of this. Murphy is given a lot of great lines to work with: a lot of snappy cutting remarks. Both two leads are at the top of their game in one of the best partnerships in film I've seen. The bare knuckle fight between the two is hilarious. I really loved the character Nolte created, though, his attitudes towards some women here, was kind of off putting. A tight shot I loved was a CU of Nolte's car approaching a steep San Francisco street decline, among some other captured ones in the film. Nolte's moment of vengeance was fantastic few words, while also I liked him, defending Murphy, in front of his colleagues. This was one of the strongest moments in the film, while also being another great acting moment of Nolte's. This is a well shaped, compacted actioner, and another reminder of those unforgotten and well made '83 flicks. I mean films.
Pameala

Pameala

If one was looking for a good example of how great acting can carry a so-so script, 48 hrs would be a good choice.

Nick Nolte is perfectly cast as 'Jack Cates', a rumpled, gruff cop on the hunt for an escaped killer. He elicits the help of a smooth talking, jailed convict who is connected to the killer, 'Reggie Hammond', who again is perfectly played by Eddie Murphy. Over the next 48 hours, the two polar opposites not only fight their way to the killer, but fight each other as well, making for some very memorable scenes. Yet, by the end of the movie, the two learn to respect each other and become friends.

While the script isn't all that special, the movie is dominated by the performances of Nolte and Murhpy. The chemistry between the two is off the charts, and it's a pleasure watching these two banter back and forth between each other scene after scene.

48 Hrs is edgy, quickly paced and refreshingly politically incorrect. But most of all, it's fun. The plot of the movie may have Nolte and Murphy chasing Ganz, the escaped killer (played well by James Remar) and his accomplice, the real show is Nolte and Murphy. They alone are worth the price of admission and make this a must see comedy/thriller.
Voodoogore

Voodoogore

Violent criminal Ganz escapes from prison, and is looking for a money stash. He leaves a trail of dead people. Jack Cates (Nick Nolte) survives the shootout. He grabs Ganz acquaintance Reggie Hammond (Eddie Murphy) from prison for 48 hours leave to help track down the killer.

This is gritty rough movie from Walter Hill. The language is rough. It's not simply swearing. It is viciously vile. Nick Nolte calls Eddie Murphy a lot of racist language without batting an eye. The people are all good and proper low lifes. Even the gun shoots sound meaner. This movie runs on the combustible chemistry between Nick Nolte and Eddie Murphy. Eddie Murphy has a bit of fun once in awhile, and Nolte is at his growling best. This is also notable for Eddie Murphy's movie debut.
Delaath

Delaath

Before I decided to comment on this film I clicked on Eddie's name to see what films he had coming up, Daddy Day Camp, thats right a sequel to Daddy Day Care. Is there really anyone who wants to see that? Compare Daddy Day Care, Dr Dolittle or god help us Haunted Mansion to 48 hrs, hmmmm slightly different aren't they. What has happened to Eddie Murphy, OK fair enough do the odd kiddie film but please, please do some adult comedy/action thrillers too, because isn't that what made him a superstar in the first place? 48 hrs was Eddie's first film and he is absolutely brilliant in it. He is helped by the excellent Nick Nolte to be fair. Eddie is in prison and cop Nolte needs his help to catch a very mean criminal, so he gets him out of jail for 48 hrs to team up with him, and they hate each other! they hate each other a lot! what follows is some of the best comedy and action seen in any film in the 80's or anyother decade for that matter. Directed by Walter Hill who has made some cracking films like The Wanderers and Southern Comfort, this film never lets up its terrific entertainment. Several years later they made a carbon copy follow up called Another 48 hrs but it was very disappointing, it couldn't match the original but then again what could? Even Lethal Weapon isn't quite in the same class as 48 hrs ***8/10***
Coiwield

Coiwield

This is a great buddy buddy movie. Eddie Murphy is a real movie star in his first movie. He is a million miles away from the family oriented movies he makes now. Which is a shame because his early performances had a down to earth quality that changed when he became a superstar. The movie is fast paced and has a great score. Nick Nolte is also terrific in this and the movie is miles better than the awful summer blockbusters i have sat through recently. I wish Murphy would come back to this type of movie. A great action movie with enough genuine laughs and great performances. This is one Buddy Buddy picture that is as good today as it was 20 years ago.
Bys

Bys

It is a true classic, highlighting the true natural talent of Eddie Murphy. He and Nick Nolte play off each other well, and Nolte isn't too bad himself in the comedy department. Though his type of humor is much more subtle. He does get his digs in, on Mr. Murphy's expense, mind you. To the best of my knowledge, this was one of the first movies that combined excellent humor scenes with extreme violence and emotion. And while many tried to duplicate it, in later years, including other Eddie Murphy vehicles, such as "Beverly Hills Cop", nothing can compare to the original! However, the overall effort is marred by the thin plot and moments of such stupidity as to be jaw-dropping, rather than laugh inducing, especially concerning firearms and Nick Nolte's character, Jack Cates. What police officer of any training even if buzzed on whiskey complies with the order of a prime suspect in the murder of other law enforcement personnel to cede possession of his service weapon on the expectation of mercy? What police brass would not immediately remove this man from the force for negligent homicide of a fellow officer? Let alone give him another gun and put him back on the streets? Cates is one of the most inept hero characters I've seen on a screen. The crooks aren't that much smarter, though, since Cates manages to get them in the end with the help of his antagonistic convict partner, Reggie Hammond (Murphy), who's stupid enough to trust Cates with his loot. There are numerous exciting and hilarious moments, but none rival the bit where Murphy causes a stir in a redneck bar. More often than not famous movie scenes fail to live up to their lofty reputation, but in this case that simply isn't so. It really is an electrifying screen moment in a film that really is an electrifying screen experience.

Overall rating: 9 out of 10.
Braendo

Braendo

48 HRS was one of the best action/adventure/buddy cop movies ever made that introduced a brand new movie star to the world named Eddie Murphy.

The film stars Nick Nolte as Jack Cates, a world weary cop, who finds himself in a bind when a fellow officer is killed with his gun by a slimy criminal who broke out of jail in order to get his hands on a booty that is in the trunk of the car of a former running partner named Reggie Hammond, who is now in jail. Cates realizes the only way to get this guy is by enlisting the aid of Hammond, who he gets a 48-hour pass out of jail in order to nab the bad guy.

Eddie Murphy deservedly became a movie star with his star-making turn as Reggie Hammond, but Nolte's Cates is an equally effective characterization, a veteran cop who might be slightly over the hill but in complete denial about it. Nolte effortlessly nails the world- weariness of his character without ever letting Murphy blow him off the screen. James Remar also had one of his best roles as Ganz, the bad guy that Cates and Hammond are after. The scene where Murphy takes command of a redneck bar is just outstanding.

Nolte and Murphy were reunited for a sequel, but like I always say, stick to the original.
Mikarr

Mikarr

This movie is really very simple. It's about a hard-nosed go by the book cop named Jack Cates who teams up with a sarcastic and slick convict named Reggie Hammond. The formula is basically your typical buddy cop film, but what makes this movie so great is the chemistry between Nolte and Murphy. Both provide us with tons of laughs as they race to catch a vicious killer. This movie also has some great action sequences, and even a little bit of drama. And of-course one cannot forget the classic scene where Murphy takes over the Redneck bar posing as a cop. I don't think anyone has ever had such a successful debut on the big screen as Eddie Murphy did in 48 HRS. Anyway, I recommend this to anyone who's a fan of the Eddie Murphy from the 1980's. You know, the one who did movies such as 48 HRS., Beverly Hills Cop, and Coming to America instead of garbage like Daddy Day Care and Dr. Dolittle?
Vobei

Vobei

488 Hrs. (1982) was a firsts of many. Eddie Murphy got a big break and shines in his role as Reggie Hammond and this film became one of the most copied comedy formulas during the 80's. Nick Nolte stars as Jack Cates whilst Anette O'Toole co-stars as Jack's long suffering girlfriend. James Remar and Sonny Landham also co-star as two of the most despicable criminals you'll ever want to meet. Denise Crosby has a small role as well.

Walter Hill (protege of Sam Peckinpah) directs.

A nasty cold blooded criminal Ganz (James Remar) escapes from a chain gang with the help of his Indian crime partner (Sonny Landham). The two fugitives cross paths with harden police inspector Jack Cates (Nick Nolte). After a bloody shoot out in a hotel lobby, Cates is desperate and will do anything to get the two. Whilst in the local precient, a learns that the two have a former crime partner Reggie Hammond (Eddie Murphy) who's locked up in Folsom Prison. After pulling a few illegal strings, he uses Reggie to get back at his former running partners. Will Reggie follow suit or is Cates just wasting his time. He better hurry because he only has "48 hours".

Highly entertaining film from Walter Hill. Eddie Murphy shows the world what a huge talent he is. Nick Nolte re-invents himself and his career ( something that a lot of middle or lower tier actors will do in the near future i.e. Gary Busey). Trust me you won't be wasting your time watching this movie. There are a lot worst you can do so why bother? Go out and rent 48 Hrs. and have yourself a very good time!

Recommended.

B+

The cable T.V. version (i.e T.N.T. and T.B.S.) have several new scenes (to fill out the running time) and a couple of extended ones as well. Most notably is the aftermath of the shoot out at the B.A.R.T. station and a new scene with Jack Cates and his girlfriend