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)

Winkler and Keaton are buddies working the night shift at the city morgue when they realize they could increase their earnings by operating a call girl business on the side. The usual shenanigans ensue. This was Keaton's breakout role that sent him on a solid ten year run as an A star, it also modestly brought Fonzie to the big screen. Shelley Long is at her Shelley Longest in the role of sweet hooker, later she sort of got stuck in vacant pleasantries but in this one she has a little depth to her character and carries the lead female role well. I don't know if this helped inspire Risky Business but the plot lines have more than a few similarities. Worth a watch.

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.

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.