48 Hrs.
1982 Directed by Walter Hill
Synopsis
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.
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Watching 48 Hrs. Conversation went something like this..
Hey look...
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! -
I took the day off yesterday and spent most of it watching films. As I do with most of my days off, actually. I really should have dedicated all of it to watching buddy cop films as that would have been the logical decision considering I watched three of them.
Still, I decided to round things off with 48 Hrs, which was about my fourth or fifth viewing of the film. I think that Walter Hill's film is slightly different from the majority of the films in the genre in that it is lighter on the comedy and has something of a harder edge than most of its peers. It's more violent, more cynical, less showy and overall not really…
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Part of the 1982 Project
How to make the ultimate 80s Action/Buddy-Cop Movie
Start off with lots of cheese, say the tune from Commando.
Sprinkle in Ajax from The Warriors, Billy from Predator. Sully from Commando.
Add a touch of Tasha Yar from Star Trek TNG, Deputy Brent from Gremlins, Leon from Blade Runner AND Lana Lang from Superman 3
Finish off with Nick Noltes amazing 80s hairdo and Eddie Murphys laugh and you will have the ultimate 80s movie. -
60th film of The December Project
One of the first entries into the Buddy Cop-subgenre, Walter Hill directs a darker and grittier action-comedy than what was usually made in the 80's. Sadly there's no mystery here, as the first scene depicts our two villains breaking out of prison.
It takes a bit before we get to the good stuff, and the action scenes are nothing really special - though they're not bad either - but the interplay between Murphy and Nolte is funny, believable and interesting, and that's really what we're here for.
So. Realistic, violent, funny and dark buddy cop-film, from back when Eddie Murphy was awesome and actually funny? (seriously, what happened?) Sign me up!
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Not as good as I remembered but still pretty good, Hill's muscular thriller crackles with racial tension. There are some exciting set pieces and a great bad guy. The films look and it's politics have dated considerably but the excellent soundtrack and cinematography in a stunning San Francisco hold up brilliantly.
Murphy and Nolte have brilliant chemistry with Murphy in particular superb. If only they had not made the sequel. Sigh.
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Straddling the boundaries of 70s crime films and 80s buddy cop flicks this isn't particularly great at being either but is quite good fun nonetheless. Nick Nolte as the horribly out of date racist, misogynist, cop versus a young, charismatic, bad boy in Eddie Murphy is a fun pairing, particularly Murphy who was still so charismatic he could make the term "pussy hunt" seem charming. As an extension of the gritty cop films set in San Francisco this is an interesting evolution with some nice set pieces but contains a lot of filler for a 90 minute film.
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Not as good as I remembered but still pretty good, Hill's muscular thriller crackles with racial tension. There are some exciting set pieces and a great bad guy. The films look and it's politics have dated considerably but the excellent soundtrack and cinematography in a stunning San Francisco hold up brilliantly.
Murphy and Nolte have brilliant chemistry with Murphy in particular superb. If only they had not made the sequel. Sigh.
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"I don't like white people. I hate rednecks. You people are rednecks, which means I'm enjoying this shit."
And so Eddie Murphy bursts onto the big screen in a star-making performance. This film is quintessentially 80s, yet doesn't feel all that dated and remains pretty funny. It was refreshing to see that at the genesis of the buddy cop genre there was ample amounts of R-rated nudity and cursing.
Also, woah it's young Mike Erhmantraut from Breaking Bad getting shot up at the beginning! -
I miss the old Eddie Murphy so much.
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Nick Nolte is a joke, and this film isn't much better. Painful.
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Oh, why can't they make them like this anymore? Oh right, because everyone has a stick up their ass now and Hollywood has no balls. I forgot.
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Megmondom oszinten ugy emlekeztem, hogy valami akciovigjatek, ehhez kepest klasszikus nyomozos uldozos akcio-krimi.
Kifejezetten tetszet, a '80-as evek eleji San Francisconak nagyon jo hangulata van. Ajanlom. -
Murphy and Nolte have an electric, wonderfully politically incorrect chemistry. That alone makes the movie special; the fun, tight plot is just gravy. The scene in the hillbilly bar is stone cold classic.
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An odd artifact of its time in several ways. I'd either forgotten or never realized that Eddie Murphy has essentially spent the rest of his career enacting a parody of this character (thanks to Filmspotting: SVU for their remarkable exegesis of Murphy's character[s] and films). It works in BEVERLY HILLS COP and COMING TO AMERICA, but it's still odd to see him actually acting.
Then there's the racism and misogyny of Nolte's character. He throws pretty much every racial epithet one can imagine at Murphy, not to mention his attitude towards his girlfriend (O'Toole), whom he can't decide whether to ignore, insult, or patronize. Although he says a few nice things about her to Murphy, so I guess that's OK.…
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I don't know why it took me so long to see this. Set in San Francisco, vehemently non-PC, and solid performances from Nolte and Murphy in their prime. The scene in the redneck bar (a redneck bar in San Francisco?) is made all the more hilarious knowing that not one fucking word of it would fly in 2013.