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48 Hrs. (1982)

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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Nominated for 1 Golden Globe. Another 2 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
... Jack Cates
... Reggie Hammond
... Elaine
... Haden
... Ganz
... Luther
... Billy Bear
... Kehoe
... Rosalie
... Algren
... Vanzant
Tara King ... Frizzy
... Lisa
... Casey
... Sally
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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 | 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] See more »


Certificate:

R | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

8 December 1982 (USA)  »

Also Known As:

48 Hours  »

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Box Office

Budget:

$12,000,000 (estimated)

Opening Weekend USA:

$4,369,868, 12 December 1982, Wide Release

Gross USA:

$78,868,508
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(4 channels)

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Eddie Murphy didn't start work on this film until a few days into principal photography as he was finishing season seven of Saturday Night Live (1975). See more »

Goofs

(at around 1h 8 mins) We're in Vroman's bar, an up-tempo group bringing it on. We can hear a piano (conventional, vs. a keyboard) player going at it, but when we get a shot from behind the piano player, he's moving his body up and down as if he's "into it" and playing, but in looking at his hands, he's barely flinching, and he's certainly not playing it. See more »

Quotes

[Shaking down a redneck, Reggie pulls a wad of money from his pocket]
Reggie: Man, you loaded here. What the fuck's this?
Redneck: Tax refund!
Reggie: Bullshit! You're too fuckin' stupid to have a job!
See more »

Connections

Referenced in Saturday Night Live in the '80s: Lost & Found (2005) See more »

Soundtracks

ROXANNE
By Sting (as S. Sting)
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Frequently Asked Questions

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User Reviews

 
The original - and probably the best - of the "buddy-buddy" flicks.
28 November 2004 | by See all my reviews

Walter Hill is one of those directors who seems never to make an average film. His movies are, generally-speaking, either very good or very bad. 48 Hours is one of his "very good" offerings. It gives Eddie Murphy one of cinema's most unforgettable movie debuts, and invents the conventions of the buddy cop genre that were to become blueprints for years to come. Every buddy picture after 1982 - including Lethal Weapon, The Last Boy Scout, Fled, Bad Boys, and a thousand more - owes something to 48 Hours.

The film opens with psychopathic Albert Ganz (James Remar) escaping from a chain gang. Determined to track down Ganz, tough cop Jack Cates (Nick Nolte) springs a fast-talking convict named Reggie Hammond (Eddie Murphy) from jail for forty-eight hours, during which time the mismatched duo must find their quarry. Cates doesn't like blacks, and Hammond doesn't like cops, so before they can even get to the business of tracking down their man they first have to come to terms with working alongside each other.

Fast-paced, energetic, foul-mouthed and funny, 48 Hours is simply a great ride. Nolte underplays brilliantly, wisely allowing Murphy to handle the loud and showy role while he etches a gruff, rugged characterisation as a cop on the warpath. The leading characters are rounded off wonderfully by James Remar, as a genuinely bad "baddie". If the plot to 48 Hours sounds like a collection of all the clichés and predictabilities that ruin most films, it's important to remember that before this film nothing like it had really been done. These plot devices and conventions are only considered "cliches" nowadays because 48 Hours was so influential, not to mention frequently-imitated, in the ensuing years. James Horner's music score is perfectly judged too. Finally, no review of 48 Hours would be complete without some acknowledgment of the film's most famous scene. I'm talking - of course - about the bit where Murphy causes a stir in a redneck bar. More often than not famous movie scenes fail to live up to their lofty reputation, but in this case that simply isn't so. It really is an electrifying screen moment.... in a film that really is an electrifying screen experience!


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