is a 1990 American buddy cop action comedy film directed by Walter Hill and starring Eddie Murphy, Nick Nolte, Brion James, Andrew Divoff, and Ed O'Ross.

Nolte reprises his role as San Francisco police officer Jack Cates, who has 48 hours to clear his name from a manslaughter charge.

Veteran San Francisco Police Inspector Jack Cates has been after drug dealer the "Iceman" for the past five years.

Blake Wilson, the head of the Internal Affairs division, becomes determined to prosecute Jack on a third-degree manslaughter charge.

Jack finds a picture that proves that the Iceman has put a price on the head of Reggie Hammond, who is scheduled to be released from prison the next day.

Reggie is captured by Cherry and Hickok, and Jack confronts the two criminals at a local nightclub where Ben Kehoe—Jack's friend and fellow officer—is revealed to be the Iceman, with another detective, Frank Cruise, serving as an accomplice.

So Eddie jumped up, and he convinced me he really very much wanted to do a movie that represented the spirit of the first one, with a lot of street energy and the hard edges of the original.

Also removed was a scene which was partially shown in the theatrical trailer in which Jack explains to Reggie that he has a deadline to track down the Iceman; as such, there is no mention of '48 hours' anywhere in the final film.

Brion James, also returning from the original, saw his role severely cut down as well, to create a faster-paced action-comedy.

The website's critics consensus reads: "Even the return of Eddie Murphy, Nick Nolte, and director Walter Hill can't hide the lazy, patchwork quality of Another 48 Hrs.

"[13] On Metacritic, the film has a weighted average score of 23 out of 100, based on 13 critics, indicating "generally unfavorable reviews".

[15] Vincent Canby of The New York Times stated that it was "as much a star vehicle for Mr. Murphy as The Gorgeous Hussy once was for Joan Crawford.

Canby continued, "Though the body count is high, all of the people killed are faceless or only minor characters, until the end.

It's as if the movie were saying that lethal violence is acceptable (and fun) as long as the victims–like the victims of guided missiles and high-altitude bombing–remain anonymous.

"[16] Los Angeles Times critic Peter Rainer called it "a crude rehashing of the high points of the first film."

He tries to ram through the muddled exposition as quickly as possible; essentially, the film is wall-to-wall mayhem, with more shots of hurled bodies shattering windows than I've ever seen in a movie.