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Storyline
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 <jlvogel@comcast.net>
Plot Summary
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Plot Synopsis
Taglines:
When a tough cop has a cool convict as a partner and 48 hrs to catch a killer, a lot of funny things can happen in . . . 48 HRS. [Australia Theatrical]
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Did You Know?
Trivia
According to
Eddie Murphy, he was almost fired for not being funny. He said he was not made aware of this until after the movie had wrapped.
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Goofs
When Billy Bear is driving the truck in the opening scene the license plate is barely attached. When we see the truck moments later, it is attached securely.
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Quotes
Jack:
Is Luther part of the gang?
Reggie:
What gang you talkin' 'bout, Jack?
Jack:
Hey, I can read a police file, shit-head. Quit calling me Jack.
Reggie:
It's just an expression, all right? I don't mean nothin' by it.
Jack:
I don't give a damn. It happens to be my name.
Reggie:
What the hell you complainin' for? At least nobody callin' you shit-head.
Jack:
I may call YOU worse than THAT.
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Soundtracks
"ROXANNE"
By
Sting (as S. Sting)
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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'.