A morgue attendant is talked into running a brothel at his workplace after a deceased pimp is sent there. However, the pimp's killers don't look too kindly on this new 'business', nor does the morgue's owner.
Four mental patients on a field trip in New York must save their caring chaperon, who ends up being taken to a hospital in a coma after accidentally witnessing a murder, before the killers can find him and finish the job.
Henry Hackett is the editor of a New York City tabloid. He is a workaholic who loves his job, but the long hours and low pay are leading to discontent. Also, publisher Bernie White faces ... See full summary »
An ice hockey star is accosted by a youth gang who attempt to rob him; after he chases them off he catches the youngest member and gives him a ride home, where he meets the boy's mother. A ... See full summary »
Maria Conchita Alonso,
A nebbish of a morgue attendant gets shunted back to the night shift where he is shackled with an obnoxious neophyte partner who dreams of the "one great idea" for success. His life takes a bizarre turn when a prostitute neighbour complains about the loss of her pimp. His partner, upon hearing the situation, suggests that they fill that opening themselves using the morgue at night as their brothel. Against his better judgement, he gets talked into the idea, only to find that it's more than his boss that has objections to this bit of entrepreneurship. Written by
Kenneth Chisholm <firstname.lastname@example.org>
The billing for the supporting call-girl characters in the closing credits were grouped under the heading "Our Ladies of the Night". See more »
As Chuck get's his haircut, the barber holds up a mirror for Chuck to get a look. After he drops the mirror, his friend Bill, played by Michael Keaton is standing there for a surprise hello having come inside from the door to Chuck's right being blocked by the mirror. Right after Chuck holds the mirror up, we can see the top of Keaton's back sneaking into the film from Chuck's left which would have put his character right next to Chuck the whole time. See more »
OK, here's an example. Watch out, stand back.
[speaks into tape recorder]
This is Bill. Idea to eliminate garbage: edible paper. You see, you eat it, it's gone. Eat it, it's out of there!
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Ron Howard has always been a consistantly talented director, never making a bad or even mediocre film. Even a film such as Ransom that opened to lukewarm reviews from both audience and critics is still better than your average thriller. He has a way of making lines and scenes memorable even when the script itself is only so-so. After following his career, I went back to one of his first, Night Shift which still has the magic I remember it did when I saw it way back when.
The story isn't the greatest and Shelly Long has never been an actress I've enjoyed watching but if you only want one reason to see Night Shift, Micheal Keaton is it. Here he creates what is probably one of the funniest characters I have ever seen in a movie. He is an idea man, constantly speaking them into his taperecorder and thus to his morgue co-worker Henry Winkler. Winkler "the fonz" is the total opposite of what he was in Happy Days, and therefor a perfect anchor for Keaton. If it was just Keaton, it wouldn't work, but Winkler is annoyed at Keaton, we laugh because of it.
If you do decide to watch this movie, be on the lookout for the single most hilarious scene: Keaton's analysation of the word "prostitute."
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