Oddball cop and tough guy, Jack Cates is the only survivor of a cop shooting and in hunting down the murderer collects Reggie Hammond from jail for 48 hours. Hammond is oddly motivated to help. The killer is searching for his stash of cash. Cates and Hammond who have the Black-white, cop-crook thing to work out make surprisingly good partners as they navigate through the city looking for their suspect.Written by
John Vogel <email@example.com>
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 See more »
During the "class isn't something you buy" scene when Jack & Reggie are following Luther, Jack says to Reggie class isn't something you buy and then says "...look at you, you've got a 500 dollar suit on and your still a lowlife." But earlier in the film when Reggie is first released and is wearing the suit he tells Jack that it was a $900.00 suit which Jack should have known later in the film. See more »
The Swedish version was cut by 3 1/2 min by the censors. The shootout at the hotel (and some violence to some women) was shortened by almost 2 min, the beating of Luther was omitted by 24 sec, the fist fight between Cates and Hammond was missing 57 sec of violence. The gundown of Ganz was also removed. See more »
Pretty entertaining thanks to great performances from the two leads...
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'.
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