A wonderfully engaging comedy from Ron Howard, where he directed his HAPPY DAYS co- star Henry Winkler, with glowing results. Winkler is excellent in the role of Chuck, a character completely opposite from his tough and confident Fonzie TV persona. Chuck is a laid back nebbish of a man, engaged to a domineering girlfriend, who finds comfort mainly at his quiet job as a morgue attendant in New York City. He's got a pretty neighbor named Belinda (Shelley Long) who's a nice girl but also happens to be a prostitute. One day a loud and obnoxious new work partner who calls himself Billy Blaze (Michael Keaton) invades Chuck's perfect world, and Chuck's life is never the same. He allows the persuasive Blaze to talk him into turning the unoccupied nighttime morgue into a side business for Belinda and her call girl friends, thus turning Chuck and Bill into pimps (or "Loverbrokers", as Blaze prefers to call themselves). NIGHT SHIFT is the perfect early '80s comedy and one of the best of the decade. It's smartly written with many quotable lines, and one should not be immediately put off by the grimy nature of its subject, because it's so much more than just some cheap or sleazy frat movie; it's also a buddy film and touching love story as well, set along the invigorating backdrop of Manhattan. Ron Howard's direction is flawless, and he's got a great cast to work with, beginning with Winkler (who was nominated for a Golden Globe), who makes his nice guy dweeb character completely believable and sympathetic. Then there is Michael Keaton, who is outrageously funny in his motion picture debut, and who steals the show. Shelley Long (of CHEERS fame) manages to instill a sweet girl next door quality to her prostitute character. This is a feel-good comedy that leaves you feeling great at the end, to the tune of Burt Bacharach's "That's What Friends Are For" (sung by Rod Stewart). **** out of ****

I just cannot believe that such epic fail reached the theaters. This movie absolutely lacks script, plot, humour, any intelligible ideas and anyhting else to call it a movie. Never watch it! DVD was trashed immediately after yawning aloud thtough this disappointment and stupidity - thank god it cost just $0.10 in a lot of DVDs I recently bought. Whomever approved this script, paid the filming and the director are absolutely insane braindeads who should be kicked out of the movie business immediately. Still can't believe this stupid reel of film exists. Lousy and pale attempt to reinact the Animal House madness married with a dull, pointless and illogical script.

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!

Well you all should know the plot line by now, from the other comments.I decided to pick this one up to see if it held up over the years, since I hadn't seen it since the theatrical. Wow 27 years. And I have to say, I laughed just as hard as I did back then. This movie is well worth looking at again. The quotes go on and on. I still say "That Barney Rubble,..what an actor".And when Michael Keaton is driving and flipping off the cops, come on, what is not to love.Everyone is great in this movie, Winkler, Keaton, Long, Belzer, when I was young I dreamed Shelly Long would make me eggs.I could go on and on.Comedies today should take note of the brash classics of the early eighties.Also just look at 42nd street before Disney took over.