User reviews

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.

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'.

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.

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.

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.

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!

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)

this is is a pretty good action/comedy movie.it stars Nick Nolte as a hard nosed cop,and Eddie Murphy as a con who he gets paired up with to solve a crime.the movie moves at a great pace,and there are some great action scenes.the dialogue is also very good,especially the interplay between Nolte's no nonsense cop,and Murphy's smart ass ladies man convict.the 2 have great screen chemistry.both also put in great performances in this film.it is a bit more violent then i thought it would be,and there is a lot of coarse language,as well as some nudity.but none of that really effects the quality of the movie.it's a funny,action packed ride.my vote for 48 Hours:7/10

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.

Nick Nolte and Eddie Murphy have "48 Hours" to catch two bad guys in this 1982 film, directed and co-written by Walter Hill. Nolte is a renegade cop, Jack Cates, with a quick temper and a big mouth. He manages the release of a criminal, Reggie Hammond (Murphy) for 48 hours so that Hammond can help him arrest two loose canon escapees from a work gang, Albert Ganz and Billy Bear (James Remar and Sonny Landham). The two have left a trail of dead bodies on a quest for robbery money. Reggie promises that he knows his former associates well enough to track them down.

"48 Hours" provides plenty of action in the form of gunfire and car chases as these two get to know one another and appreciate what the other brings to the table. There's plenty of comedy, too, including Nolte's introduction to Murphy in his prison cell.

There have been many of these buddy movies since "48 Hours," which was a huge hit. While I admit to liking the "Lethal Weapon" series better, Nolte and Murphy are great together, both delivering strong, edgy performances.

Though it's a formula film, the two actors and the good direction lift "48 Hours" out of the formula to provide great characterizations and a high level of entertainment.

Buddy cop movies are usually pretty lighthearted, but 48 Hrs. Is actually kind of grim. Nick Nolte's plotline feels like a Dirty Harry movie, and the excessive violence undercuts the jokes in the rest of the film. There are splashes of humor, compliments of Eddie Murphy, even though it feels like he's still getting his footing as a film actor. It's a little dated, but this movie is entertaining enough.

If you broadly described the plot of '48 Hrs. (1982)' to someone and asked them to guess what it is you're talking about, I'm pretty confident that they'd come up with almost any 80s movie before they came up with this. That's because this film is, essentially, every 80s movie ever (or, at least, every 80s action/ cop movie ever). Two unlikely allies have to work through their personal troubles - and do it fast - in order to bring down the bad guy, eventually learning that maybe they're not so different after all before enjoying one last bit of now truly 'friendly' banter as they drive off into the sunset together. There is one thing that sets this apart from most of its decade's more memorable entries, however: it's just not that good. Generally, it's a generic experience devoid of any real charm, one that often feels as though it's actively going out of its way to make you dislike it. It feels quite 'nasty' - or, perhaps, pessimistic - pretty much for the sake of it, while still trying to end on a high, a "we're friends now so let's forget about all that racism". It truly is bizarre, not least of all because there aren't really any characters and so we just don't care about the core relationship. I mean, Nolte's just an unlikable walking bag of sand who growls at everyone he sees and who's constantly really unpleasant to his newfound partner for no real reason. He uses racial slurs like playground insults and doesn't ever learn his lesson - in fact, the flick never even makes a point of it. His only development comes off-screen when, around the start of the third-act, he decides he likes Murphy, for some reason; subsequently, he doesn't treat him like something he scraped off his shoe. Meanwhile, Murphy is... Murphy. He's as charismatic, and occasionally problematic (when he gets a chance to turn the tables on some racist rednecks, he immediately resorts to homophobia), as ever. Still, he's clearly the best part of this picture. Even the action, which is hard-boiled and 'violent', doesn't really live up to the standards of the era, despite being competent enough. It's this that makes for the movie's most memorable stuff, though. Overall, the film doesn't really amount to much. It's not really entertaining and it's also incredibly forgettable. As I mentioned, its only merits are Murphy's charisma and the occasional bit of blank-firing, squib-triggering gun-play or (perhaps more ironically enjoyable than straightforwardly so) stunt-doubled, turn-taking fisticuffs. Still, that's not enough for a recommendation. 4/10

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.

STAR RATING: ***** The Works **** Just Misses the Mark *** That Little Bit In Between ** Lagging Behind * The Pits

A felon (James Remar) is busted out of jail and it falls on the head of a cranky cop (Nick Nolte) to catch him. Following a tense stand-off, his partner is shot by the convict and in order to find him he must team up with another convict (Eddie Murphy) to catch him. But right from the off, this is one partnership that ain't gonna flow like a boat.

At just 21, Murphy took his stand-up comedy act and took to the big screen with veteran Nolte for this raucious cop thriller. The movie also introduced the likes of notable character actor Remar as well as David Patrick 'Sully' Kelly in a supporting role.

It has (for it's time, anyway) an interesting angle of a good guy and a bad guy coming together and what would happen if they came to depend on each other. Murphy's character indeed isn't awfully likable and an unfortunate stereotype for some black characters in cinema, but Nolte gives a good turn as the hard-assed, cranky cop. The movie has it's 'buddy-buddy' angle down to a tee, but it seems to be too indulgent of this and seems to forget that it was actually meant to be an action movie and concentrate on the action (of which there's hardly any!) making it become rather boring after a while.

If you're looking for a good 'buddy-buddy' cop movie, you've come to the right place. But if you want this and lots of exciting action, Lethal Weapon worked the formula much better five years later in 1987. ***

Walter Hill had some pretty good hits with Red Heat, 48 Hours 1+2 and Last Man Standing. All of those movies have a pretty average story at best, but they rise above being average with some humour, decent action scenes and an amazing soundtrack.

In the case of 48 Hours, I feel this unfolds from the very beginning. The unnerving saxophone sound gives you a feeling of impending danger and really drives the movie. It's different from the soundtrack Horner made for the other movies, but I think it's his best out of them (although Red Heat is very good too).

The movie also feels VERY 80s, which to me is a good thing. I was born at the end of 85 and didn't get to experience much of the 80s, but most of my all time favorite shows and movies are usually in the late 70s or 80s. It just seems like a time when things were cooler and slower. People still went out to bars or dancing and men and women weren't lying in tranches, kind of hating each other yet. In fact, women usually get a raw deal in most of Walter Hill's movies. But they're also shown as tough and resilient.

So yeah, the movie has no "special" or very unique story (except the idea of "borrowing" a convict, I only saw that in "Live and Die in LA, which came later), but what makes it a winner in my book is:

• the added comedy by Murphy and Nolte (who couldn't be more different)
• the neat unfolding of the story and how we're taken through it step by step
• the movie actually feels tense
• the amazing soundtrack.

All in all, I give this movie a strong 7.

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.

Officer Jack Cates is assigned to catch a recently escaped convict. Tragedy ensues as he confronts his prey. Left with guilt and a botched reputation he grabs the desperate measure of seeking the help of jailbird Reggie Hammond. But there's a catch. And on the adventure goes of the two unlikely partners who can barely conceal their disdain for each other but develop a bond and friendship as they come closer to attaining their goal. The chemistry between Nick Nolte and Eddie Murphy is among the most memorable in all of film. Nolte's oafish and catankerous character and Murphy's smooth portrayal clash and make up in some of the funniest scenes and lines in all of filmdom. There's a rawness and awkwardness in some of the dialogues and scenes that give the film a ring of authenticity. One doesn't see these in movies anymore and cinema is all the poorer for it. The nostalgia factor is paramount as one views the fashion and mores bringing back memories of another time. One of the best Cop / Buddy films made, this is one that stays for good.

Run-of-the-mill Buddy movie by Walter Hill with loads of crossfire , killings and multiple mayhem . When a tough cop (Nick Nolte) has a cool convict (Eddie Murphy) as a partner and 48 hrs to catch two killers (James Remar , Sonny Landham) , a lot of funny things can happen in 48 Hours . With the help of the fast-talking con man , the two-fisted cop looking for and carrying out a manhunt for the team that has blown away two careless policemen . It is a perilous and thrilling mission and there's never a dull moment . Later on , the peculiar relationship between the rogue cop and the outlandish crook goes on growing , including sympathetic , funny dialog . 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

Overheated comedy thriller with Nick Nolte as a white redneck cop teams up with a hip Afro-American convict in the manhunt . Lots of slam-bang action , swearing , shouting , shooting , profanity and knocking over cars and other convenient obstacles with no much sense . A buddy routine cop classic underrated 80's action flick with lots of action and bemusement . This is a surface material , moderately entertaining and contemptuous , as well as fun enough , thanks to the loads of action and fights .At any rate, a partíal return to form for Nick Nolte and Eddie Murphy playing in his usual style . As Murphy's swaggering acting made him a film megastar. The most visually interest stuff happens when Nolte and Murphy take off enemies and the thrilling final , when occurs a violent confrontation . They're well accompanied by a fine support cast , such as : James Remar as a psychotic prison escapee ,Annette O'Toole , Frank McRae , David Patrick Kelly , Sonny Landham , Brion James , Chris Mulkey and Jonathan Banks . And being followed by a sequel with similar actors and director .

It contains atmospheric but dark cinematography by Ric Waite, though mostly shot in night enviroment , discoteques , neon lights and other interiors . And pounding and thrilling musical score by the prolific James Horner , though composed by synthesizer . This is adecent production , well and lavishly financed by the powerful producers Lawrence Gordon and Joel Silver . The motion picture was professionally directed by Walter Hill, providing noisy action with some good moments , especially towards the final . The veteran craftsman Hill is a good writer , producer , filmmaker who has made a lot of films of all kinds of genres , working from late 60s , early 70s to nowadays . As he has directed action movies as Hard times , The driver , Southern comfort , The warriors , Extreme prejudice, 48 Hours , Another 48 hours , Last man standing , Johnny Handsome , Undisputed. Science fiction: Supernova . Western: Geronimo American legend, Wild Bill . Long riders . Comedy : Brewster's millions . Terror : Tales of the Crypt . Musical : Crossroads . Rating 6/10 , it will keep you on the edge of your seat from beginning to end and it is fun too.

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***

Good music score, if a bit odd, steel drums and alto sax create a very unusual mood in this gritty look at early 1980s San Francisco.

Plot is threadbare: cop forced to temporarily spring a convict from prison, to help catch his escaped ex-partner in crime. Both characters are tolerable at best, racist and homophobic at worst, so it was difficult for me to care what happened to them. Also, the plot (with a screenplay begun by Roger Spottiswood, then fleshed out by Steven DeSouza, then adapted further during filming by Walter Hill & Larry Gross) almost completely falls apart if one thinks about it afterward. Some abrupt tone changes several times in the final scenes may be a result of the rewrites, and they don't help.

I could now only recommend this for Eddie Murphy fans and/ or Nick Nolte fans (who have probably already seen it), or someone with an interest in San Francisco.

Well, let's see: 1 - This is a Walter Hill film; 2 - Nick Nolte is one of the stars; 3 - the others are Eddie Murphy, Annette O'Toole and James Remar. Uhh, ya think you might hear the Lord's name in vain a few times in here? Answer: yeah.

Second question: with the above director and cast, do you think the film might be a little crude or a little harsh in spots? (Same answer)

Two more rhetorical questions: Do you think either the critics or the public in this case cared about the above? Do you think they just looked at it as a "great buddy film" and another chance for a rising young black comedian to break out in stardom (which he did)?

Yup, for indiscriminate viewers who like their action slanted and profane, this is a winner all the way! Well, at least it introduced us to Murhy who a string of hits in the '80s. Hill went on to make many other ultra-violent, ultra-profane films. Can't say much for the other careers.