User Reviews

They don't seem to make comedies like this anymore, but thankfully, they did once. "Night Shift," directed by Ron Howard, stars Michael Keaton, Henry Winkler, and Shelley Long. Winkler plays Chuck Lumley, a securities broker who may have had a nervous breakdown - anyway, he has taken a job at the morgue so he can be in a quiet place. When he's transferred to the night shift, it ruins his time with his eternally dieting fiancée (Gina Hecht).

Worse than that, Chuck's quiet is shattered by a new employee, Bill Blazejowski (Keaton), who talks into a tape recorder and runs a limo service using the hearses. When Chuck's attractive neighbor, Belinda, a hooker, is in need of a pimp, Bill gathers her and her friends, and he and Chuck run a prostitution service out of the morgue. They take much less of a cut than the average pimp, and Chuck invests their money for them, and gets health insurance for them.

This is a really fun movie, with a terrific performance by Keaton as a wild man whose sense of adventure is infectious to the down and out Winkler. Winkler is the anti-Fonz, and he's wonderful. I had the pleasure of interviewing him once. He's one of the warmest, most natural people one could ever meet. Shelley Long is both funny and sympathetic as Belinda.

Very entertaining.

... well actually several of them are. The film is based on a true story of a couple of morgue employees caught running a brothel out of the morgue at night.

You have Michael Keaton in his breakout role acting like...well..Michael Keaton, at least pre "Clean and Sober" Michael Keaton, with his smart remarks and cheery yet loser persona. You've got Henry Winkler as a guy who just lets people walk on him to the point that he's engaged to a woman he really doesn't love because she is there, and just takes it when he's moved from his day post at the morgue to the night shift with Keaton's Bill "Blaze" Blazejowski. Winker's character, Chuck, got to this sad state of affairs when he had a nervous breakdown working on Wall Street, even though he is a talented investor. Since then he's decided the best way to get through life is keep his head down and keep a low profile.

But then his night shift brings a little sunshine his way in the person of prostitute Belinda (Shelley Long), who is getting home about the time that Chuck does, and they begin to have breakfast together and get to know each other. When Belinda is injured by a client because she doesn't have a pimp, Bill talks Chuck into letting Belinda and her friends work for them, and Chuck agrees to invest the girls' money so they'll have a nest egg.

Eventually Chuck and Belinda fall in love, with Chuck assuming Belinda will quit prostitution. Belinda asks the pertinent question - "And do what?". She asks it tearfully, because of course she doesn't like this life, we really never get any background as to how she got here, but future employers would want to know what she was doing with this big blank space on her resume and she knows she has no acceptable answer.

The whole situation comes to a head when other pimps don't care for Bill and Chuck cutting in on their territory. And then there is the little matter of undercover cops. I'll let you watch and see how this all works out.

This would probably just be a six if it weren't for the important place it holds in film history. It is the first feature film directed by Ron Howard at only age 28, and he did a very able job his first time out. It boosted the careers of both Michael Keaton and Shelley Long, who was less than a month away from beginning her star making role on Cheers. And then there is the film's theme song "That's What Friends are For" that was rerecorded in 1985, became a hit, and whose proceeds went to benefit the American Foundation for AIDS.

And what of Henry Winkler who was top billed here? Well, even though he was nominated for awards for this performance, it was pretty much downhill from here professionally. Since 1973 Winkler had built the reputation as the ultimate Eisenhower era alpha male - Fonzie - on the long running TV show "Happy Days". He was a cross between Brando and Elvis. People stepped out of his way when he walked down the street, and he would snap his fingers and several beautiful girls would come running just to be on his arm. A great performance as a man who is a walking doormat through most of the film does not mean that it enlarged his fan base.

I'd say watch it for its place in film history for all the reasons I gave. Even if you weren't alive at the time, the film is at least mildly amusing. Also watch out for cameos by Richard Belzer (Munch on Homicide and then Special Victims Unit), Kevin Costner, and of course Clint Howard who I don't think ever got an acting job without big brother's help, with the exception of maybe his part on TV show Gentle Ben.

In my humble opinion, Ron Howard should have tried directing R rated comedies more often during his career as he shows here to have a real knack for it. Written by frequent collaborators Lowell Ganz and "Babaloo" Mandel, and marking an early joint effort for him and producer Brian Grazer, "Night Shift" is not only an agreeably saucy film, but the writers and director are also able to mine this material for a lot of heart, and the actors create likable, memorable characters. Howards' 'Happy Days' co-star Henry Winkler shines in a part far removed from that of the ultra-cool Fonz. He's Chuck Lumley, a timid, nerdy type who got stressed out working as an investment counselor and sought the peace and quiet of working in the city morgue. This doesn't last long when he's forced to work the night shift and partnered with wild man Bill "Blaze" Blazejowski (Michael Keaton, in one hell of a film debut), a talkative "idea man". Among his ideas are edible paper, therefore cutting down on garbage, and feeding mayonnaise to tunafish. Anyway, things take a bizarre turn for Chuck after he's made friends with Belinda (Shelley Long), a sweet hooker who's moved into his building. Her pimp has been knocked off and now her johns are taking advantage of her. So after some thought he agrees to Bills' idea that they should become the pimps for Belinda and all of her gal pals. This is great fun all the way through, with Keaton completely stealing the show as Blaze, and getting most of the good lines. Long admittedly makes for a rather unlikely hooker, but she still has a lot of appeal here and does look very nice cooking eggs in her underwear. The film does go on for quite a bit but is entertaining enough that you don't feel that much time going by. An impressive amount of familiar faces fill out supporting and bit parts: Gina Hecht, Pat Corley, Bobby Di Cicco, Nita Talbot, Howards' brother Clint, Joe Spinell, Richard Belzer, Grand L. Bush, Charles Fleischer, Vincent Schiavelli, Michael Pataki, Howard himself in dual cameo roles, Shannen Doherty, and Kevin Costner (you have to be quick to spot him) as a frat boy. Good score (by Burt Bacharach) and songs (by Bacharach and Carole Bayer Sager); the songs include "That's What Friends Are For", sung by Rod Stewart, years before it was a hit for Dionne Warwick & Friends.

Here's just a couple of lines to pique your interest:

"This is Chuck to remind Bill to SHUT UP!" "Call Star-Kist." "Oh, that Barney Rubble...what an actor!" "LOOOVE brokers!"

All in all, it's an 80s comedy worth seeking out or rediscovering.

Eight out of 10.

Adam Sandler and Pauly Shore can only DREAM of being as funny as Michael Keaton in "Night Shift." Keaton's hilarious performance only serves to underscore the fact that he's never been near as funny since.

Sure, the movie will never be in the AFI's top 100 list. But when I was 18, a loony pre-college me dreamed of being as funny as Billy Blaizejowski, Keaton's character in the film. I credit the script for great lines, but I doubt anyone could have made an annoying character like Billy loveable - except Keaton.

Henry Winkler does a bang-up job with a straight role that affords audiences little to get excited about. He is completely convincing as an in-over-his-head nebbish with a nervous stomach, and deserves credit for pulling it off without seeming whiny. We identify with Winkler's character even though we can see how cowardly he is.

The plot, of course, is contrived, as is any plot involving hookers with hearts of gold. It's hard to see Shelly Long as a prostitute, but she plays it gamely and has fun with the role.

I recommend this film if you have any craziness to your sense of humor, or just if you're a male between the ages of 17 and 25. That's the target audience, but even in my mid-30's, I still find Keaton's performance refreshing and laugh-out-loud funny.

"Chuck Lumley" (Henry Winkler) is an unassertive, mild-mannered New Yorker who has a bossy girlfriend and works at the city morgue. He is a genuinely nice guy who simply wants to live a normal life. As luck would have it, however, two unexpected events suddenly turn his life upside-down and things will never be the same for him afterward. The first major change is when he gets a new office worker by the name of "Bill Blazejowski" (Michael Keaton) who is the complete polar opposite of Chuck. Whereas Chuck is quiet and considerate, Bill is totally loud, spontaneous and unpredictable. The second person to suddenly appear in Chuck's life is a prostitute named "Belinda Keaton" (Shelley Long) who has just lost her pimp and needs someone to help her out. While Chuck is sympathetic to her plight, Bill sees an opportunity and soon all three of them become part of something that none of them can control. Now rather than reveal any more I will just say that this was an exceptional comedy which benefits from the great chemistry displayed by the three aforementioned actors. It was like each of them tailor-were made for their specific characters. Be that as it may, while the subject matter might be a little risqué, I found this to be an enjoyable film and I have rated it accordingly. Above average.

I saw this film a long time ago, just when it was new (1982) and was blown away by the very talented Mr. Keaton.

Also notable are Henry Winkler in a most restrained and touching way.

A welcome surprise is Shelley Long (For the record: I am NOT her fan) as a prostitute "with a heart of gold".

A small, early gem from the Ron Howard-Ganz-Mandel team, with some personal touches, to wit: The line when `Belinda' (Shelley Long) tells `Chuck' (Henry Winkler) just after they made love that `she is not wearing her watch' to let him know that she loves him is just beautiful, a nice, semi-polished little gem that I think most people can appreciate and enjoy.

Trivia: Clint Howard in a small role (His brother, Ron almost always gives him work.)

Trivia: In the closing credits Rod Stewart sings a beautiful version of `That's what friends are for' that would later be made really popular by "Dionne Warwick and friends".

A bit before my time as I was 13 when it came out, I picked it up for $2 a few weeks ago and had no expectations other than my mother said it was funny, Micheal Keaton had me thinking it was Cheech who was singing in his opening scene behind the door, I was surprised when he walked in tbh, it reminded me of Marin's "I'm just a love ma-chine" vibe from Cheech and Chong lol. Winkler was his best nerdy self and Keaton playing the kook was perfect, Long was her usual self, likable and cute and wow in underwear! Lol, can't believe she's 70 now watching the old stuff from my youth like Troop Beverly Hills etc,. This is the role that worked her up to her role in Cheers and the Money Pit with Tom Hanks a few yrs later. Fun and insolent 80s fun, along with Trading Places, Easy Money, Back To School, Weird Science and Adventures in Babysitting, Survivors and so many more silly movies that turned up the silly factor and made you forget your troubles for an hour or so.

Henry Winkler plays meek, and put-upon morgue attendant Chuck Lumley, who is engaged to a controlling woman he doesn't love, and has also been passed over for a promotion, and forced to work the night shift, when he is paired with wacky new employee Bill(played by Michael Keaton, in a star-making performance) Bill is as extroverted as Chuck is introverted, but somehow(despite a heated argument) they become unlikely friends, then business partners. You see, chuck's neighbor Belinda Keaton(Shelly Long) is a prostitute who hates her pimp, so she organizes her colleagues(Bill's idea) to operate out of the morgue(!) Things go well until Belinda's old pimp decides he wants in on the action...

Unlikely premise for a comedy works surprisingly well, thanks to appealing performances and good direction by Ron Howard. Story is far fetched of course, but this comedy succeeds in spite of that.

Night Shift is one of my favorite comedies of all time. Keaton is outstanding, Winkler is believable, Long is very good as a hooker. MK has a strong talent for comedy; just his expressions are funny. No words needed. I read where MK liked his Beetlejuice role the best. Well let me tell you that his Mr Mom, and Beetlejuice characters were born in Billy Blaze's character in Night Shift. Bravo. Highly recommend.

Released in 1982, "Night Shift" stars Henry Winkler as a morgue attendant newly assigned to the graveyard shift in the Big Apple where he meets an energetic but dubious new employee (Michael Keaton) who talks him into running a prostitution ring at the morgue. Shelley Long plays one of the ladies of the night while Gina Hecht appears as the fiancé of Winkler's character.

Although director Ron Howard had previously directed 1977's low budget "Grand Theft Auto" and a few TV movies, "Night Shift" was his big theatrical break. It was also Keaton's film debut after spending 6 years on TV. Speaking of whom, Keaton's character comes off seriously annoying, but he slows down after a bit and you get used to him. Winkler was at the height of his popularity after six years on Happy Days with a few more to go, but he could never equal his television success in cinema (I've only seen him in three movies, this, 1977's "Heroes" and 1996' "Scream"). In any case, both work as quality protagonists who happen to be polar opposites.

Long co-starred in this movie right before she shot to television success with Cheers for the next five years (when she chose to leave the show). Shelley never did much for me, although she's certainly likable, but WATCH OUT for her mind-blowing kitchen scene where she's just stunning.

The movie's not great but it's consistently amusing with 2-3 laugh-out-loud sequences. The topic of prostitution is disturbing, even gross; it's hard to fathom how a woman could fall into such a horrible pit, but the movie stresses the humanity of the prostitutes and possible redemption rooted in love. And love conquers all.

The film runs 106 minutes and was shot in Manhattan & Queens, New York City. WRITERS: Lowell Ganz & Babaloo Mandel.

GRADE: Borderline B/B- (6.5/10)

Very mediocre pabulum 80s material. I've never been a Michael Keaton fan, and I don't see any reason why the over-the-top silliness of this, his movie debut, should make me one. He portrays a goofy character in an unconvincing way. The plot is trite, the scenes are predictable, the stereotypical Hollywood ending is obvious midway through the movie. The electric piano that plays intermittently throughout the movie is annoying. For some reason, the song "Jumpin Jack Flash" keeps coming up throughout the movie. Shelley Long is OK as the obviously scripted to fall in love with the male lead prostitute just prior to her role on "Cheers". Winkler is miscast by his "Happy Days" buddy Ron Howard as Keaton's straight guy/foil, the conservative man, who of course, even though he is engaged to be married, falls in love with the prostitute, who of course, just happens to live in the apartment next door. There's even the obligatory get-thrown-in-jail-scene.

You've got it.....paint by numbers material.

This is strictly Hollywood formula product. If you're going to watch this movie, you might as well kill a few brain cells in preparation, cause it doesn't require many to sit through this. This movie has no more artistic substance than dog food, dishwasher detergent, or toilet paper, it's just generic schlock material designed for mass consumption. Unless you're a die-hard fan of this 80s genre, you won't be missing much if you miss this one.

This was one of Howard's early directorial efforts (he even gives himself a Hitchcockian-style cameo in an alley kiss near the beginning), and one of his straight-out funniest. Many have commented on Keaton's top-notch breakout performance -- and it truly is one of the funniest supporting performances since Matthau's Whiplash Willie Gingrich. But, there are many other wonderful tidbits to enjoy thoroughly -- beginning with an incredibly clever script by Ganz and Mandell -- so many classic lines I almost don't know where to begin. Gina Hecht is also magnificently memorable in her supporting role as Winkler's neurotic girlfriend, and Nita Talbot is a gem as the domineering mother. Winkler is perfect as the understated nebbish lead, and the contrast of the low-income realities and the humor found in the script is marvelously unusual in American movies beyond "Little Shop of Horrors". In fact, the movie deftly blends reality and absurdity in a manner few have succeeded at. Finally, the ahead-of-its-time cast includes Shannen Doherty as a junior girl scout, Richard Belzer as a grotesque gangster pimp, Kevin Costner as a frat boy, Clint Howard (Ron's younger brother who starred in Gentle Ben and a classic Star Trek episode) as Keaton's first limo customer, Murphy Brown's Pat Corley as Hecht's father, and Ghost's Vincent Schiavelli as an obnoxious deliveryman. And, I do disagree with mainstream thought that Shelley Long was miscast -- she actually imbues her character with some underappreciated mannerisms that ring very true for me that transcend the hooker-with-a-heart-of-gold cliche. All in all, a funny and harrowing film much better than it is generally given credit for.

Like STRIPES (1981; see review elsewhere), I was too young to catch this adult comedy – best-known today for being former actor Howard's sophomore directorial effort and for providing Michael Keaton with a star-making role. To be honest, I am rather ambivalent towards Howard's supposed talent as a film-maker: well-suited to light-hearted, life-affirming fare such as this, SPLASH (1984) and COCOON (1985), he has regrettably failed to convince when tackling more serious subjects. Anyway, this was certainly an auspicious beginning: an original, if not exactly credible, premise wherein two morgue attendants (mild-mannered Henry Winkler – Howard's ex-buddy from his HAPPY DAYS TV series – and charismatic Keaton) decide to turn their literally inert shift into a booming call-girl business! Keaton's uncontained exuberance here may have lead to his getting the title role in BEETLEJUICE (1988) but nonetheless comes across as essentially overstated; Winkler though, miles away from his iconic and ultra-confident Fonzie character, is wonderful and he is matched by Shelley Long (of CHEERS fame, hence another established TV performer trying to break into movies) as the call-girl abused by customers (after her pimp is flamboyantly 'executed') who seeks comfort in the arms of neighbor Winkler (himself engaged to a neurotic woman dominated by strict parents). For all the seediness on display (involving partying in morgues, courtroom exhibitionism and exclusive sex clubs), the film proves a generally agreeable and entertaining ride – faltering only on occasion due to overlength (106 minutes). Consequently, there are plentiful felicities throughout (not least an early rendition of the Burt Bacharach/Rod Stewart song "That's What Friends Are For") in the way of situations (notably a running-gag involving Winkler being chased by a hound let loose in the corridors of his apartment building) and dialogue (particularly when, ending up in prison and being accosted by a murder-happy cellmate, Winkler sarcastically thanks Keaton for having made possible his acquaintance with Peter Lorre's son!). Joe Spinell has a small role towards the end as the slimy manager of the swank brothel to which Long relocates after her association with Winkler and Keaton is disrupted: the latter happens to work at the same joint as a towel-boy(!), while the former follows her there on summing up the courage to finally express his love. By the way, a pre-stardom Kevin Costner can be glimpsed during the party-in-the-morgue sequence!

Very funny comedy from Ron Howard. Winkler and Keaton are a great duo and they team up very successfully from what I see. The whole premise is completely absurd, but you never know, it could happen. Nonetheless, engaging performances and great humor serve up a very good film. 9/10

Ron Howard used this movie in an attempt to give his old friend from Happy Days, Henry Winkler, a leg up in the movie business, and gave one to Michael Keaton instead.

Keaton steals this movie with a wonderful performance as a self-styled 'idea man', setting up a pimping business out of the city morgue with the financial help of Winkler who falls for one of the prostitutes in the form of Shelley Long, who has certainly been better cast.

Almost everything Lowell Ganz and Babaloo Mandel have ever written has been brilliant, we'll ignore the City Slickers sequel and The Flinstones, and this is one of their early movies which, while still hilarious, somehow didn't do that well at the box-office.

Good direction from Howard, good performances from the stars and supporting cast, and a wonderful script, make this a brilliant movie, and shows why Keaton can be such a comedic star.

The basic structure of Night Shift is really familiar stuff but the main idea here is really unique and results in a really good comedy that gets enough good laughs out of it across the run time bolstered by a strong central trio and easygoing direction that makes the whole thing more enjoyable.

Henry Winkler's mild mannered nature is ideal to lead the film in contrast to everything around him and his growing confidence is really fun. Shelley Long really humanises a character who could have easily been two dimensional and Michael Keaton rounds out the core three in terrific fashion.

In his first film role Keaton shows why he's become and remains a truly dynamic screen presence with an incredible amount of energy from his first appearance and a level of comedic timing that is impeccable every single time. Almost all of the best jokes here are his.

Ron Howard's direction compliments everything else nicely, there's nothing groundbreaking here but there's some clever flourishes and framing that enhances the humour. It opens pretty strong as well, setting up a lot of different aspects with an engaging chase sequence.

1982's "Night Shift" which was one of legendary director Ron Howard's first works can now be considered a comedy classic. The film is certainly funny and it has plenty of funny memorable one liners and it was sharply written with intelligent wit. Yet it is most respected for it's off beat plot and clever nature of opening up a business(an escort service)which will lead to an unlikely friendship and it shows one man that love is possible for anyone.

Set in New York City you have ex Wall street guy Charles Lumley(Henry Winkler)who's a worried and uptight type who now makes his living at the city morgue on the night shift. Things change enter Billy Blazejowski(Michael Keaton in one of his earliest roles)who's hired to be Lumley's night shift partner. And Billy is an opposite as he's more a party animal and care free type who wants to change things and he comes up with a clever ideal. That is he gathers up a group of women and you guessed it they run an escort service for profit! Shelly Long stars as a working girl and strikes up a friendship and even a love making encounter with the uptight Lumley who breaks free of some of his tightness, which was needed especially when he had a sweet tooth wife who loved chocolate! In the end a lot is learned as unexpected love is discovered and all three form a bonding friendship that's memorable and should last so special when it seemed so unlikely. Overall good and well done comedy a now remembered classic.

Michael Keaton explodes onto the screen in "Night Shift". Forty years later he is still working because of this movie. Keaton gives a classic performance. Henry Winkler does a great job too but even he can't keep up with Keaton. I first saw "Night Shift" in the theater. I've seen it many times since. It is a very funny, often sweet, movie. All these years later, this movie is still laugh out funny. Don't get mad at me but this is probably director Ron Howard's best movie. "Night Shift" is a minor classic. Honorable mention: When Shelley Long makes eggs.

I really could care less who wins Auburn - Miss State, and i wanted a good laugh, so I turned to an old favorite with Henry Winkler and Micael Keaton, along with Shelly Long, Richard Belzer, and Vincent Schiavelli. You'll even find Kevin Costner and Shannen Doherty in here if you look closely.

Winkler got a Golden Globe nomination for his performance, but it was Keaton that got a big start with the film.

Winkler & Long were magnificent, and Keaton was so crazy that you laughed every time he opened his mouth. It was a pleasant experience.

Great soundtrack, too.

Here is another of Ron Howard's earlier movies that are on the irreverent side with typical twisted Hollywood values. For the millionth time, we also have the lovable, sentimental women playing hookers (give me a break!) who are helped out in a time of distress by another lovable goof-ball (Michael Keaton) who, of course, has no morals, either. That's why he's portrayed as someone to root for, as is our old pal "Fonzi" from "Happy Days." Yes, Henry Winkler is here playing another creep whom Howard makes look appealing even though he abandons his nice fiancé for a hooker (Shelly Long). Nowhere in all of this does it indicate Winkler or anyone else is doing the wrong thing.

There were some humorous moments in here, but not a third as many as the hype for this film would have you believe. Overall, just a worthless piece of trash.

This movie finds it's humor in seeing the absurdity of situations that are unusual but not completely unbelievable. The characters are memorable, especially as Henry Winkler plays a role that is a complete departure from previous roles and he does so convincingly. Winkler is a great straight man to Michael Keaton's high energy "idea man" and Shelley Long is well cast as the quintessential hooker-with-a-heart of gold. It's a very 80's film, but one that has stood the test of time. Even if the story line is "formula" it produces exactly the result you would expect: it's a loud, colorful, rollicking good time. It may be dated, but it is still funny after all these years.

Just mildly entertaining.

I was nice to see Keaton and Long before they were anyone. Winkler was already "The Fonz" and so even 45 years later i found it hard to watch him be meek. But it wasn't just that, he was meek to unbelievable levels.

I guess for me it was something that wants to be a comedy and a drama at the same time and in this case the 2 don't work together for me. A drama being serious, a comedy being silly, like where did the girlfriend go so long that they could go from start to buying a restaurant (not a spoiler because it's not important). The point is that had to be several months of time. Similarly there's a party scene in the morgue. How did they get all that cleaned up before the next shift? Or how about all the clients and calls. How did they get no one to come off hours?

Of course you're not supposed think of that stuff I guess but in that case the movie wasn't distracting enough for me not to notice.

I guess in sense the last few minutes of the movie end on a strong "feel good" note and that's maybe what sets the tone for most viewers? Oh well. I'm glad I saw it but it will soon be forgotten.

This movie was awful. i had heard about this movie for so many years, but never saw it, so i figured i would watch it, over the course of a week. i sat through scene after scene waiting for it to get ok, but it never did. just a terrible humorless ridiculous implausible movie. winkler was awful in it and no wonder he wasn't in any other movies. keaton is insufferable, how he ever became popular is a mystery, because he was awful in both this and gung ho which came out a few years later. shelley long was ok, but that's about it. this movie had nothing.