48 Hrs.

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.

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.

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.

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.

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'.