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…
Walter Hill's filmography reads like a cult-canon of underrated classics. From The Driver to Southern Comfort, The Warriors to Streets Of Fire, he gave us compelling, profanity littered films with style and attitude. For some though 48 HRS slips below the radar among those minor cult films from the now 72 year old director, but it still has all his trademark visuals and frenetic action-heavy aesthetics.
It's hard to believe that this was Eddie Murphy's first film role. He came across as so confident in his ability, his star potential was obvious. Here he plays a convict who is released from prison for 48 hours in order to help gruff cop Nick Nolte capture an escaped con who killed two…
What the hell happened to Eddie Murphy?
Back in the '80s, his career exploded, and he rode a steady upward trajectory, such that it seemed there was no end in sight for this rising star. Although there were a couple of missteps along the way (I'm looking at you, Golden Child and Best Defense), his filmography consisted of an almost-unbroken string of hits. Beginning with this film, 48 Hrs., he gave the world wonderful performances in Trading Places, Coming to America, Beverly Hills Cop, and some not-terrible sequels. Let's just pretend Harlem Nights never happened. His hits all had something in common. They were intelligent comedies with a heart, and were genuinely entertaining. Then, except for a couple of decent…
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!
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.…
"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,…
Pretty cool to see why Eddie Murphy became a movie star so quick following this.
Una de las precursoras de las buddy movies policiacas, y de la mano de uno de los grandes directores del género, Walter Hill.
Lo cierto es que uno de los puntos fuertes de la película es lo diametralmente opuestos que son sus dos protagonistas y como su química no funciona para nada el principio, hasta que termina por convertirse en una gran amistad.
Lo malo es que en otros aspectos la película no destaca tanto. Su trama es un poco simple y algunos cabos quedan sueltos además, y la estructura es demasiado reiterativa: encontramos al malo, tiroteo y se escapa,...hasta 3 veces distintas. James Remar como villano está un poco desaprovechado. Además no tenemos muchas escenas de acción, aunque al…
I dig how mean and hard boiled this is, almost unabashedly so, but it’s all worth it to see Eddie Murphy beat down the rednecks at the bar.
What more could you ask for? Blatant, straightforward, and effective action plotting which ends with bad guy carrying the two things both heroes want physically and symbolically in each hand.
Nick Nolte's great, Eddie Murphy's GREAT. Walter Hill gets in a lot of his killer night shooting and boxy car physics. Kinda sucks that all the best action scenes are in the front end, but they're good goddamn scenes. There's a harrowing gunfight in an apartment building where you never know how low anybody's going to sink, who's gonna take a risky shot next, etc.
This seminal interracial buddy action movie predates the recent proclivity for a non-stop flood of repartee, instead balancing action and comedy and even leaving a little room room for the characters to pause and breath. Other than the often parodied police Captain, it's a much more natural feeling movie than the many that followed.
Eddie Murphy is great as he always was during that era, so it's a shame the film takes 30 minutes to involve him. Seriously, it was pretty dull until he came into it. Afterwards it's a serviceable & forgettable cop film.
its bland existence is single-handedly justified by one of the greatest posters of all time.... Oh, and for giving us 80s Eddie Murphy. Thank you so much <3
Hill hires a comic team to go mainstream, but deep down you can sense he's dreaming about Hickey & Boggs.
Like a lot of Hill's other work, '78's THE DRIVER and '79's THE WARRIORS and the premiere of Milch's Deadwood, there's a lot of dark crookedness to leaven any big laughs. 48 HRS. is kind of the real thing. Real snazzy cop/cowboy funk and gunplay for most of the beginning. Then, Murphy. The potty language is pretty fucking rich, and that ain't even the least of the artifices piled up, but the story hangs together well and all seems very adequate. Steel drums, then sax, then more steel drums supposed to excite me? Oh man. I'm excited.
Missing films I can't locate on Letterboxd:
Blonde Ambition (1981)
The Devil in Miss Jones (1972)
I Like to Watch…