USA Up All Night (also known as Up All Night and Up All Night with Rhonda Shear) is an American…
One Cop. One Con. No Mercy.
A hard-nosed cop reluctantly teams up with a wise-cracking criminal temporarily paroled to him, in order to track down a killer.
Director Walter Hill is primarily know for three things: 1) action 2) an active camera and 3) testosterone. No film of his plays up all three and balances them quite like 48hrs. Add to that the comic powerhouse that is Eddie Murphy's film debut with an equal foil that is Nick Nolte's lone wolf cop and you get a high-octane and energetic neo-buddy-cop film that delivers from the amazing Hill-centric cast to James Horner's fantastic score.
The Roger Spottiswoode/Walter Hill story of a cop that has 48 hours to use a convict to solve a prison escape hits the ground running.
Hill's film starts it's action thrust from minute one. Scenes are kinetic, the narrative moves and we get just…
It is hard to know what to make of Walter Hill's "48 Hrs." Its reputation as an odd-couple, buddy comedy not withstanding, the film is a gritty, sometimes ugly cop drama/action outing. Eddie Murphy is on hand to temper the grit, adding a lighter tone than the film would have without him, but there is no whimsy or easy entertainment here.
"48 Hrs." follows Nick Nolte's hard-edge detective as he hunts a cop killer. Using Murphy's two-day parolee to help track the killer, the two men form an uneasy alliance. The plot throws in shoot-outs, stand-offs, and other stock beats common to this type of film. It is a solid premise and story, resulting in a watchable, mostly engaging film.…
Watching 48 Hrs. Conversation went something like this..
It's him from Predator!
It's him from Commando!
It's him from Batteries Not Included!
It's him from Blade Runner!
It's him from Gremlins!
"They just don't make 'em like they used to" porn.
48 Hrs. is decent fun lifted by a great Hill direction (which mostly generates thrills through the employment of a lot of close-ups and medium shots). In some ways it has dated, but the film is shot with an edginess which is still very appealing, and is rescued at every turn by charismatic performances.
48 Hrs. was an important film in the buddy cop sub genre, and is at its best with the charm handcuffed to the anti-charm. Eddie Murphy here has one of the great debut entrances into cinema, wailing away at Roxanne in the distance before Nolte meets him. It's a restrained but hilarious and impressive debut role,…
Unfairly undervalued. With all the confidence in the world, you can feel free to state that 48 Hrs. is just one in a million "buddy-cop" features that were so much exploited in the 80s and are still done and even parodied today, from the Lethal Weapons to the Rush Hours and then more (now that I think about it, most of them also decided to team up a black and a white guy). I have some arguments:
a) This practically preceeded them all. 48 Hrs. gave birth to the violent action comedy trend and the buddy cop subgenre. Credit to what it is worth, this was a very attractive proposition that had new twists and turns to offer. You may…
I thought I'd seen this before but it appears not. For one thing I didn't realise it was over 30 years old and is considered one of the first Buddy Cop films. It was also more of a low key, gritty, racist and violent effort than I expected, although this made sense when I saw it was directed by Walter Hill.
It worked pretty well, with Nick Nolte and Eddie Murphy an agreeable Odd Couple, but there are plenty of better examples in the genre. 6/10.
Eddie Murphy on top form.
48 HRS is a solid buddy-cop-thriller starring Eddie Murphy in his debut role as a streetwise parolee and Nick Nolte as a seasoned, bitter cop. The premise is very simple and easy to follow, intense moments are spread around the film and the pacing is indeed brisk thanks to top-notch chemistry between it's lead duo who play off each other so well. Even though I felt the ending was kind of weak and the racist dialogue seemed out of place at times and unnecessary, 48 HRS entertained nonetheless and never bored me once within it's running time.
Igazából nem egy nagy szám a film. Se a sztori, se az operatőri munka, se az akció nem nyűgözött le, de akik elvitték a hátukon a filmet az egyértelműen a két főszereplő.
Annyira elüt ez a két karakter egymástól, hogy egyszerűen jó nézni a köztük kialakuló bonyodalmakat, na meg Eddie Murphy is kegyetlen jó dumákat vág be néha.
I fucking love buddy-cop films. There's a stunning shot in Chinatown too, a really fantastic on ethat's going to stick with me.
I can't deny that there's some stuff in 48 Hrs that hasn't aged too well, but on the other hand every time Nick Nolte engaged his full-strength gravelly cop voice, I felt like I was watching the greatest thing ever filmed. Walter Hill's badass style and the ridiculously cinematic streets of San Francisco don't hurt either.
48 Hrs was a pioneer of the mismatched buddy-cop movie, but most of the later films don't push the conflict between the partners as well as this one. These guys REALLY hate each other for most of the story, and it gives them some pretty excellent chemistry.
To stop fugitive, thief and killer Albert Ganz no-nonsense cop Jack Cates will have to give Ganz's former partner a 48 hour pass from prison.
I've always heard good things about this movie and it didn't disappoint. The action and humor worked and Both Nolte and Murphy were perfect in their roles, plus they have good chemistry with eachother, although the way their characters went from being in each others throats to getting along was somewhat forced. The supporting cast did a good job too. James Remar and Sonny Landham were great as the villains.
A really good and arguably the first buddy cop movie, although buddy cop con movie would be more correct.
A film I'd seen scenes of on TV before but never all at one time before... not as fun as I'd imagine, but when Murphy is given the reigns it moves in a lovely way..
If this movie hadn't established a million cliches, there wouldn't be much to recommend it. It basically takes a standard 70s Dirty Harry formula and adds a comic sidekick, which changes the dynamics of everything. You still get all the action and drama of a cop show, but now you don't have to take any of it seriously. The rest of the 80s would follow this formula, including the telephoto cinematography that makes it seem like the whole movie is shot in closeup. We're still rehashing these cliches today. But the movie itself has a threadbare and illogical plot coupled with shocking amounts of racism and sexism and is barely worth revisiting. Nick Nolte's gruff cop, who's only rule seems…
- A Nightmare on Elm Street
- A Nightmare on Elm Street Part 2: Freddy's…
- A Nightmare on Elm Street 5: The Dream…
- Hot Fuzz
- The Mechanic
If I missed any, let me know. When you get lost in such a wonderful discussion, it's easy to miss…
- North by Northwest
- The Birds
This list was inspired by a conversation on the March 2nd/9th editions of Mark Kermode & Simon Mayo's film review, where…