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D: The difference between ''48 Hours,'' made in 1982, and the new ''Another 48 Hours,'' a sequel, is the difference between Eddie Murphy the young television actor making a terrifically engaging movie debut, and Eddie Murphy the 1990 supernova, the star of seven films that have earned more than one billion dollars at box offices around the world.
The difference between ''48 Hours,'' made in 1982, and the new ''Another 48 Hours,'' a sequel, is the difference between Eddie Murphy the young television actor making a terrifically engaging movie debut, and Eddie Murphy the 1990 supernova, the star of seven films that have earned more than one billion dollars at box offices around the world. It does no more work than it has to.
The new movie, produced in association with Eddie Murphy Productions, is as much a star vehicle for Mr. Murphy as ''The Gorgeous Hussy'' once was for Joan Crawford. The Crawford name isn't idly invoked. You have to go back to the old M-G-M days to find movies that, with every gesture, let the audience know it was watching a star.
With the exception of a couple of short funny scenes, Mr. Murphy doesn't really act in ''Another 48 Hours. He seems to lend his presence to it. In gratitude, the movie takes great care of him.
His skin has an elegant matte finish - it's never shiny. His clothes always hang with just the proper amount of insouciance.
Though a little heavier than he once was, Mr. Murphy looks like a walking 8-by-10 glossy, the kind of retouched, idealized photo once mailed out to fans by the M-G-M publicity department.
'Another 48 Hours,'' directed by Walter Hill, who also directed the original, again teams Mr. Murphy with Nick Nolte, though their billing has been reversed. The characters, however, remain more or less the same. Murphy is Reggie Hammond, a hip, perfectly tailored young con artist, and Mr. Nolte is Jack Cates, the big, tough, slobbish but exuberant San Francisco cop, who plays straight man to his younger pal.
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