Movie Review: Night Shift (1982)

★★★★★

It’s like a buddy comedy, a rom-com, and a workplace sitcom all rolled into one, and somehow, it all works.

Mark S.

Wyoming

If you only know Ron Howard as the director of prestige hits like Apollo 13 and A Beautiful Mind, you might be surprised to learn his first major directing break was a bawdy, offbeat workplace comedy about running a side hustle in a morgue.

As a reviewer for BoxReview.com, I can tell you Night Shift is one of those films that’s easy to dismiss based on its premise until you watch it and realize it’s sharper, warmer, and stranger than you expected. It’s also a snapshot of three major careers in their early stages: Ron Howard learning his directorial voice, Henry Winkler breaking away from Happy Days, and Michael Keaton absolutely stealing scenes in his first major film role.

The Premise: From Quiet Nights to Wild Schemes

The movie follows Chuck Lumley (Henry Winkler), a mild-mannered former stockbroker who now works the night shift at a New York City morgue. His peaceful routine is disrupted when Bill Blazejowski (Michael Keaton), an energetic, fast-talking new hire, bursts into his life.

After meeting Belinda (Shelley Long), a warm but world-weary neighbor who works as a prostitute, Chuck and Bill hatch a plan to manage her business and others in her profession from the “low overhead” location of the morgue. It’s absurd, a little risky for its time, and far funnier than it sounds on paper.

Henry Winkler: The Anti-Fonz

Coming off his run as the ultra-cool Fonzie, Winkler took a deliberate left turn here. Chuck is cautious, a little neurotic, and so conflict-averse that you almost want to shake him. Winkler plays him with such understated charm that you buy into his gradual transformation from rule-follower to risk-taker.

Most reviews remember Keaton’s energy, but Winkler is the heart of the film. Without his grounded presence, the craziness around him wouldn’t land nearly as well.

Michael Keaton’s Scene-Stealing Debut

Keaton’s Bill Blazejowski is like a human firecracker constantly buzzing, endlessly optimistic, and completely unpredictable. It’s wild to think this was his first big movie role, because he comes in fully formed: quick-talking, endlessly riffing, and with a knack for finding the funniest possible angle in a scene.

One under-discussed detail is how Keaton uses physical comedy here. It’s not just his words that are funny; it’s the way he fidgets, moves through a room, and interacts with props. Even when he’s not speaking, you can see his brain working at triple speed.

Shelley Long’s Warmth in a Risky Role

Playing Belinda could have been one-note, but Long brings empathy and intelligence to the role. She’s not just “the love interest,” she’s the one who forces Chuck to reassess his comfort zone and decide what kind of life he actually wants.

Long was still a year away from Cheers, but you can already see her knack for mixing comedy with genuine emotional beats.

Ron Howard’s Early Directorial Touch

Most people forget this was only Ron Howard’s second film as a director (after Grand Theft Auto). What’s notable is how assured the tone feels. He balances outrageous comedy with moments of sincerity, letting the audience actually care about these characters in between the laughs.

Howard also uses New York City effectively without making it a gritty crime setting. This isn’t the dark, dangerous NYC of early-80s thrillers; it’s a slightly heightened, cartoonish version that fits the film’s offbeat energy.

The Humor: A Mix of Farce and Character Comedy

While the setup screams “raunchy 80s comedy,” Night Shift avoids cheap shock for the most part. The jokes come from character dynamics: Chuck’s cautious nature versus Bill’s reckless enthusiasm, or Belinda’s pragmatic take on life clashing with Chuck’s sheltered worldview.

One of my favorite underappreciated running gags is Bill’s constant stream of half-baked business ideas, each delivered with total conviction. They’re the kind of ideas you’d expect from that one overly confident friend who swears they’re “just one invention away” from success.

The Soundtrack: Peak Early-80s Vibes

Burt Bacharach’s score and the theme song “That’s What Friends Are For” (years before the Dionne Warwick hit version) give the film an unexpectedly sweet tone. The music keeps things light, even when the plot is technically about… well… managing a prostitution ring out of a morgue.

The Movie’s Real Message

On the surface, Night Shift is about two guys running an absurd business, but underneath it’s about personal growth. Chuck learns that taking chances in love, in work, in life is worth the risk. Bill, in his own way, shows that sometimes a little chaos is exactly what a person needs to shake off their fear.

It’s also quietly about friendship. As mismatched as they are, Chuck and Bill push each other toward better versions of themselves.

Why Night Shift Still Works Today

In an era when a lot of comedies lean heavily on improv or shock value, Night Shift feels refreshingly structured without being stiff. The humor is tied to the characters, and the pacing keeps things moving without overstaying any joke.

It’s also fascinating to watch knowing where everyone’s career went afterward, Howard becoming one of Hollywood’s most reliable directors, Keaton becoming Batman (and later Birdman), Long becoming a TV icon, and Winkler reinventing himself again decades later.

Final Thoughts

Night Shift isn’t as widely remembered as some '80s comedies, but it deserves more love. It’s the kind of film you throw on expecting light entertainment and end up genuinely enjoying for its heart, performances, and oddball charm.

If you’ve never seen it, think of it as a workplace comedy turned completely on its head, with a dash of romantic sweetness and a young Michael Keaton running off with every scene he’s in. And if you have seen it, it’s probably due for a rewatch, especially now that you know you’re seeing the very beginnings of several major careers.