User reviews

In "The Last Showgirl", Pamela Anderson stars as Shelly, a middle-aged showgirl who has made a decades-long career in a now rapidly declining act on the Las Vegas strip. When she learns that her famed show is unexpectedly set to close up shop, she faces an existential crisis.

There is no arguing that this film's surface appeal for virtually all of the filmgoing public is to see its star like we've never quite seen her before--and in some ways it's true, in others, not. The Pamela Anderson forever edified in pop culture has never quite been taken seriously as a performer, or perhaps has simply never gotten the right opportunity--but regardless, I will say that her performance here is very good. She captures a nervy pathos as Shelly that is well executed by any measure. The film's dialogue at times feels slightly stilted which does detract from the performances to a degree, but this is true of most of the cast, and not really their fault.

Visually, "The Last Showgirl" is a marvel. It appears to have been shot on aged film stock, which gives it a filtered but grainy appearance that is otherworldly and almost lost in time. While it appears to be set in the early 2000s, the 1980s-tinged set pieces and the dimly-lit casino interiors are supremely atmospheric. Anyone who has been to Las Vegas and seen this side of it can attest to how perfectly (and poetically) the city's less glamorous nooks and crannies are captured here.

The film is ostensibly a character study, as Shelly attempts to plan a future in the face of an impending career death--a career which she has long defined herself by. The premise is interesting in that the character is, in a sense, shamelessly shallow, despite having a real heart and an upbeat cheerleader-esque personality. She wants the best for not only herself, but those around her, and yet her anchor in life is proved ephemeral and only fails her. She is also un-glamorized in the sense that her personality flaws are unveiled as the film progresses.

By her side is Annette (Jamie Lee Curtis), an older and long-ago-ousted ex-showgirl who takes fleeting gigs cocktail waitressing, and who drowns her sorrows in a variety of alcoholic beverages. Where Anderson's character has more reserve, Curtis's brash and bawdy personality brings some spark, and the two have genuine chemistry here. The younger cast (Kiernan Shipka and Brenda Song, playing much younger showgirls who view Anderson as something of a surrogate mother, and Billie Lourd as Anderson's semi-estranged daughter) also give respectable performances.

Despite that it seems to strive toward character study, I ultimately feel like "The Last Showgirl" functions better as a downbeat mood piece than anything else. The characters--even Shelly--remain somewhat unreachable, which I suppose may be intentional. This is a world of surfaces, after all, and the film seems to fundamentally understand this. The moody shots of Anderson ambling around the Vegas strip, and Curtis's transcendent casino dance to "Total Eclipse of the Heart" are pure, unadulterated cinematic pleasures. And even if these moments don't drive home the heartbreak in the story, they are worth the price of admission alone. 7/10.

The beauty of this film lies in its simplicity but that doesn't mean it lacks complexity.

At a time when movies try so hard these days to be bigger and glossier, both in budget and running time, it's a breath of fresh air to find a film under 90 minutes that tells a relatable human story without needing to resource to hyper stylised visuals or an overcomplicated plot.

This movie is about real people going through real hardships. We are invited to be bystanders as we follow the life of the titular character (Pamela Anderson's Shelly) as she faces the end of a chapter in more ways than one, and she's in fact the last of a kind.

The director Gia Coppola gets close enough to her subjects using handheld cameras but never indulges in the drama talking place. This movie is a drama, no doubt, but it isn't melodramatic. It is profoundly sad but it doesn't linger. It's heart breaking because we all know a Shelly, or we've been one ourselves... We recognise these characters, and the actors do a great job bringing honesty to each and every part.

But lets be clear, this movie works because of Pamela Anderson. Not only she does a great job here; the nuances in her choices as an actress, the physicality, the voice. But it is the old classic Hollywood style of acting that is so rare to see these days that really caught me by surprise and that I'm afraid will pass some viewers by. She reminds me of Marilyn Monroe, Lana Turner, Ingrid Bergman. She is vulnerable jet commanding of the screen. She is the closest to a Katherine Hepburn if she had worked in an indie film. She really is that good, without needing a big tear jerking scene, of which there are many 'close-to' moments. The dinner scene with with Dave Bautista's character is a great example of the complex and layered acting we're talking about here. So is the first scene in which Shelly meets her daughter.

I hope this movie finds its audience and that Mrs Anderson gets her well deserved flowers.

THE LAST SHOWGIRL would probably make a great double bill with DEATH OF A SALESMAN, in that they both explore the consequences of having superficial values. Pamela Anderson stars as Shelley, a veteran Las Vegas performer in a "boobs-and-feathers show." She's been a showgirl in a revue called "Razzle Dazzle" for 30 years, but "Razzle Dazzle" is now dated and no longer sells tickets. What's she going to do now that the show is closing? She's a mediocre dancer and her youth is gone. She has no practical skills to make a living. All she has lived for is the "glamour of show business." Her "marriage" was a failure, she was a terrible mother, her friendships were superficial. There is not much plot, but it's a brilliant character study. Despite the lack of a real plot, director Gia Coppola has given it a level of intensity that kept me rapt with attention for the film's 90-minute length. In the role of a selfish woman with trashy values, Ms. Anderson is quite believable, as are the dazzling supporting cast, which includes Kiernan Shipka (as a child actress, she played Don Draper's daughter on MAD MEN) and Brenda Song as young showgirl co-workers, Dave Bautista as the show's stage manager (and a previous lover), Billie Lourd, as her recently estranged daughter, and especially Jamie Lee Curtis as a former showgirl who is now a beat-up-looking cocktail waitress. This, to me is the best ensemble cast of a movie of the entire year. Kudos to all! Cinematography, music, and art direction are excellent. This film is certainly worth seeing because it raises a lot of questions about American values. I'd recommend it.

This movie definitely makes you think about life and what you make of it!

I enjoyed it, but it is definitely heartbreaking and hard to watch at times. Makes you think of your priorities in life and how following your dreams doesn't always pay up in the long term. Shelly is 57 years old Las Vegas dancer at the end of her career with nothing else going on for her in life. Her life long dream to be a dancer in the spot lights made her sacrifice everything she had in life. Marriage, the connection with her daughter, life and money stability, health insurance and retirement benefits. She did it all for her passion for the job, but once the show was over her life pretty much ends with it. Its a great movie showing how not everyone makes it ok in life and actually following your dreams can end you with nothing even if you were happy while doing it.

Pamela Anderson acting is great beginning to end! Definitely the right choice for the part. Jamie Lee Curtis is great as ever and even Bautista steps out of his regular character.

Overall great movie, but not everyones cup of tea, for sure!

Very beautiful movie!! Pamela Anderson is amazing as Shelley. What a great role for her !! Jamie Lee Curtis is perfect too. The acting, the photography, the soundtrack, A great movie. I was enchanted from start to finish. Gia Coppola's touching film gives Pamela Anderson her greatest role, in which she can show the full extent of her real talent as an actress. Hats off to her. However, we would have liked to see certain situations developed further, and to know more about certain characters. A film full of finesse, humor, poetry and emotion. We'd like to spend more time with Shelley, her daughter and her colleagues, and hope that everything works out.

Rating - 7.4: Overall, a pretty good movie that is the female version of "The Wrestler" ; this film is an artistic and raw presentation of a past-their-prime performer entering the next chapter of their life, carried out by a strong lead performance from Pamela Anderson.

Direction - Pretty Good: The direction on a macroscale feels very raw and artistic, similar to "The Wrestler" ; the direction on a microscale is decent as you get a sense of what Pamela Anderson's character is fighting against in these scenes, but there is a lot of stiffness in these scenes ; the storytelling feels raw as you see the story from the lens of the main character as she navigates this new chapter of her life, and this feels very similar to "The Wrestler"

Story - Pretty Good: The concept is very similar to 'The Wrestler', a story about a past-their-prime performer looking to navigate through this next phase of their life; the plot structure is pretty linear, but its short runtime makes the movie feel a little unfinished; character writing is good because this character movie about a past-their-prime performer makes the movie interesting as you see how they come to terms with this next phase of their life

Screenplay - Good: The dialogue is good; the humor is pretty playful; the symbolism is pretty good as the images and symbols of this past-their-prime star really show the beauty in aging and finding purpose in life as you enter a new phase; the structure of the movie means there really isn't that much foreshadowing because it starts at the end

Acting - Pretty Good: Pamela Anderson - Good (A career-best performance as she pulls a lot from her life to deliver a very personal performance; very analogous to Mickey Rourke in "The Wrestler"), Jamie Lee Curtis - Pretty Good (She essentially plays her character from "The Bear"), Dave Bautista - Decent (A very grounded performance that is not typical of him; he really supports his cast members with how grounded he is), Brenda Song - Pretty Good (Shows a pretty good range of emotions; has good chemistry with the cast and Pamela Anderson, really supporting the latter), Kiernan Shipka - Decent (It does a decent job showing the younger flair of the group), Billie Lourd - Decent (He has decent chemistry with Pamela Anderson; Not trying to be ageist, but they could have aged up her character a little bit because she does not look 21-22), Jason Schwartzman - Decent to Pretty Good (More of a cameo, but he does a good job leaving his mark in the one scene he is in), Rest of the cast - Decent to Prety Good (There isn't too much of a remaining cast; the cast does a pretty good job working together as there is a strong sense of chemistry)

Score - Good: Used well to make this movie feel very artistic and help establish the tone of the movie; it helps make the movie feel similar to "The Wrestler"

Cinematography - Good to Very Good: The imagery and artistry of the character shots across the backdrop of Las Vegas are beautiful and make this movie feel very artistic; the hand-held, guerrilla-style cinematography makes this movie feel very raw and similar to "The Wrestler"

Editing - Good: Helps the cinematography in making this movie feel very artistic and beautiful when it shows the main character across the backdrop of Las Vegas, showing this juxtaposition of a city that never ages

Production Design - Good: The backdrop of Las Vegas against this aging character creates this beautiful juxtaposition of a city that never ages

Costumes - Pretty Good: Helps show how their show is an aging relic of old Las Vegas

Pacing - Pacing is too fast, as the runtime feels too short; 15-20 minutes could have been added to help strengthen the narrative and give more of a relationship between the mother and daughter

Climax - Climax is good because it leaves the movie where it should

Tone - Tone is very artsy and gritty; tone feels very similar to "The Wrestler"

Final Notes - I saw the premiere at the Austin Film Festival.

Las Vegas blows up all of its old relics.

And this is one of the greatest Vegas movies ever made.

There, I said it.

But it's true.

Oh, the list is long: Leaving Las Vegas, Saint John of Las Vegas, The Hangover, even this filmmaker's legendary grandfather took a swing at Sin City with One From The Heart, which I feel has aged quite well through the years.

Heck, even Showgirls has its place. I actually like it too, and I don't even feel that guilty about it.

But this, this is an amazing film with incredible performances.

It's an arthouse darling that I saw in a mega monster movieplex on opening day in the middle of a polar vortex.

And it was absolutely worth it.

Pamela Anderson.

Icon.

And perfect for this title role.

I hope she gets much deserved future awards consideration.

Jamie Lee Curtis. Dave Bautista. Brenda Song. Kiernan Shipka.

All of them back this powerhouse performance with outstanding execution.

Gia Coppola is a talent to continue to watch.

Already in this new year of 2025, I feel as though I've seen two of the best films of the year in this same week.

Better Man on Monday.

The Last Showgirl on Friday.

Both films actually quite similar in many ways. The struggle to entertain the masses. To be appreciated in your own time. To be human underneath it all.

Wow, what a week.

Maybe this will be a great year in film.

We will all know when the curtain goes back down in December.

Pamela Anderson steps into the limelight in Gia Coppola's "The Last Showgirl," a reflective drama that attempts to balance themes of empowerment and vulnerability but stumbles in execution. Positioned as a potential late-career vehicle for Anderson, reminiscent of Mickey Rourke in The Wrestler, the film struggles to reconcile its ambitions with a thin narrative and inconsistent performances. While Jamie Lee Curtis electrifies the screen with a show-stealing supporting role, Anderson's subdued presence often makes her feel like a spectator in her own story.

Set against the neon-drenched backdrop of Las Vegas, the film explores the fading glory of Shelly (Anderson), a veteran dancer of the Razzle Dazzle revue. Once a star attraction, Shelly now finds herself grappling with the closure of the show and her own obsolescence in an industry that worships youth. The story opens with Shelly auditioning for a new act-a sequence as painful as it is poignant, capturing the vulnerability of a performer desperate to hold onto relevance. Anderson's delivery of the line, "I'm 57, and I'm beautiful, you son of a bitch," elicited applause at the film's Toronto Film Festival premiere, though it resonates more as a meta-statement about Anderson herself than as an organic moment within the film.

Curtis, in contrast, delivers a vibrant and unabashedly campy performance as Annette, Shelly's brash and glamorous best friend. Annette's larger-than-life antics, including a standout scene where she dances to "Total Eclipse of the Heart," bring much-needed energy to the film. Curtis imbues Annette with a mix of humor and pathos, offering a glimpse of the resilience and camaraderie among women in the twilight of their careers. Her scenes highlight the lack of depth in Anderson's portrayal, which, while earnest, lacks the charisma needed to anchor the film.

The screenplay by Kate Gersten draws clear inspiration from The Wrestler, echoing its themes of estranged familial relationships and the struggle for dignity in the face of professional decline. Shelly's attempts to reconnect with her daughter, played by Billie Lourd, feel underdeveloped, robbing the narrative of emotional weight. Similarly, the romantic subplot with Eddie (Dave Bautista), a stage manager and former lover, offers moments of tenderness but fails to elevate the stakes.

Visually, Coppola and cinematographer Autumn Durald Arkapaw aim for a stylized aesthetic that captures the faded glamour of Las Vegas. The pink and magenta hues lend the film a dreamlike quality, though the reliance on wide-angle shots often leaves the characters feeling detached from their environment. While this choice may reflect the alienation Shelly experiences, it inadvertently diminishes the intimacy required for the story to resonate fully.

The film's refusal to indulge in the excesses of Vegas spectacle is admirable but also leaves it feeling muted. The audience is denied a glimpse of Shelly's Razzle Dazzle act until the very end, a decision that undercuts the film's exploration of her identity as a performer. When the curtain finally rises on the revue, the moment feels too little, too late, leaving viewers to wonder about the magic Shelly once embodied.

Despite its shortcomings, The Last Showgirl raises important questions about aging, self-worth, and the sacrifices made in pursuit of a dream. Anderson's casting is undeniably symbolic, reflecting her own journey as a cultural icon navigating public perception and personal reinvention. However, the film ultimately fails to capitalize on this meta-narrative, leaving Anderson stranded in a role that demands more than she can give.

Originally Reviewed at The Toronto Film Festival (Special Presentations), Sept. 6, 2024.

IWhen I heard about this film, I immediately thought about this year's "Substance". Both Pamela Anderson and Demi Moore are actresses who were big stars in their youth and their careers "were tied close' to their looks and at a certain age they stopped getting roles in prestigious Hollywood productions, but this year they got roles that allow them to be on the lips of moviegoers again. However, Demi played phenomenally in an extremely original and bold body horror and her role will be remembered as one of the best comebacks in the history of cinema. Pamela, on the other hand... well, she plays well in that movie and proves that she can be a good dramatic actress, but she is held back by the film itself, which is too formulaic, does not take risks and does not delve into the psychology of the main character, let alone the completely unwritten secondary characters. There are a few interesting plot germs, including: clashes between the characters about which of the performances they undertake in various clubs is art and which is pornography, but these interesting moments are quickly cut off in favor of sentimental and nothing-burger scenes, like Pamela dancing in the street in Las Vegas. I did not like Jamie Lee Curtis in this, who plays as if she was in a completely different film than the others. The plot is quite predictable - we know how the conflicts between the characters will be resolved and that some elements ntroduced at the beginning will return at the end. I also do not understand why at times the shots are so strangely blurred at the beginning of the film?? I think it was supposed to be part of the artistic vision, but it's done so clumsily and inconsistently that it looks more like an accident. But at least "The Last Showgirl" is only 1 hour and 25 minutes long, so it's not a tiring experience. You're probably going to watch it and forget about it immediately after.

Just like life, the years sneak up on you. Shelly (Pamela Anderson) has been in a Las Vegas showgirl review for close to 40 years and it's the last one of its kind. When she finds out that the show Is closing, she has to take a a hard look at her life and what to do next. She asks herself how did she let time pass her by so quickly. This is Pamela Anderson's movie with some major assist from Jamie Lee Curtis(Annette). Not overly directed, Gia Coppola let's the acting and realness of a dying industry tell its story. The movie deserves all the accolades it's receiving. Give it a chance to tug at your emotions like it did mine.

There are two images which come to mind when one hears the name Pamela Anderson.....One has most guy's hearts pounding hard as this 20 year old blonde bombshell runs in slow motion in her iconic red lifeguard swimsuit to save a poor soul on the beaches of California with "I'll be there" playing in the background and the other has most guy's panting hard in her infamous video with her ex husband. To the kids and guys who lived through that era, the image of a 57 year old Pamela Anderson without make up in The Last Showgirl feels almost Alien.

The Last Showgirl has been doing rounds at the film festivals and is now seeing its leading lady land a whole bunch of nominations for what seems to be an almost semi-autobiographical movie about "The Last Showgirl" from a long forgotten era. Pamela deserves applause for taking on such a role which is so uncharacteristic and extremely touching at times. She gives it everything and ends up giving the best performance of her career, but.....

.....unfortunately her career has mostly been glam doll roles in Home Improvement, Baywatch, VIP, Barb Wire, Scary movie 3 etc. So the best performance of her career doesn't rise to the level of the other actresses that are also receiving a whole bunch of nominations and awards. Pamela Anderson is good but not great. I feel for her character, I want to love her character but there is some inconsistency in her character's behavior (which may be because of Pamela's acting style) which makes it difficult to like or understand her character. It may be possible that her character has been written in that manner to showcase her anxiety (In one scene) and self belief (In another). Maybe just like her character is misunderstood by others in the movie, it is difficult to understand some of her actions, decisions and mood swings as an audience.

To me her performance is good but doesn't have the gravitas one would hope from an actress playing a character at this stage of life and career after being surrounded by glamour and bathed in the limelight for decades. The Last Showgirl should have been for Pamela Anderson what "The Wrestler" was for Mickey Rourke....a great movie that showcased how this great wrestler, now a mere shadow of his glorious past, was still trying to cling to his heydays as he struggled to live through the present with no idea about what the future held for him. Mickey Rourke excelled in that role and that is where Pamela Anderson in comparison feels a bit stiff, especially when one sees the heartbreaking supporting performance from Jamie Lee Curtis in the same movie.

Jamie Lee Curtis is just fantastic and her character just tore a hole in my soul when she talked about working, working and working till the day she dies because she has nothing else in life (And she cant afford to stop working). Dave Bautista is very believable and fragile in his role. Kiernan Shipka and Brenda Song are very good as lost young showgirls. Gia Coppola (Francis Ford's Grand daughter) does a good job of bringing these melancholic tales to the screen and putting the limelight back on to Pamela Anderson like one could never imagine. Pamela truly gives it her best and deserves the attention. She still looks great without all the make up and glamour. A screening of one of her Baywatch episode would have filled up more theaters in the 90s than the Last Showgirl which just had one fan at its early screening in the local theater today. She does deserve more attention for this performance. Its not Baywatch, Its not the wrestler but it is still a character study of note. 7/10.

"The Last Showgirl" gives you a realistic look behind the scenes of actual life in Las Vegas. Pamela Anderson makes the most of her role as Shelly, a dancer in a Las Vegas revue with scantily clad women in feathers and sequins. Shelly has devoted 30+ years to the Razzle Dazzle show, but learns it is being shut down by the hotel-casino due to lagging ticket sales. Some things Shelly says expose her as somewhat shallow, but she is still likable.

Jaime Lee Curtis is great as Annette, Shelly's friend and former showgirl who now works as a cocktail waitress. Throughout the movie Shelly and Annette have to deal with being older women who are becoming increasingly unseen and passed over. One scene with Annette by herself is my favorite. I hope she and Pamela Anderson get nominated for lots of awards for this film. Dave Bautista, Brenda Song, Kiernan Shipka and Billie Lourd also give excellent performances.

As someone who used to live in Las Vegas I appreciated this film showing what life is like for people who work on the Strip. Definitely worth seeing.

I must admit the cast got me to be interested in seeing this movie. Legendary actress Pamela Anderson takes the starring role and that's what got me into the movie. I like kiernan shikpa from the AMC drama series Mad Men were she took the role as Sally Draper. For me movies that leave a lasting impression are my type. So this one reminds me of the last time my girlfriend visited me from university for a vacation and we didn't have a movie on the mind to watch. We gambled and a movie by randomly choosing The Last Snow Girl and the drama in it gave us a point to spark a conversation that made our day .

To say that this is Pamela Anderson at her best would be an understatement. A beautiful, tragic, and vilifying statement about being true to oneself and embracing your passion over all things.

Shelley (Anderson) has been a part of the same Vegas show for almost 40 years, she has known nothing else since she was a teen. Her life gets completely derailed by the sudden news of the shows upcoming cancellation.

Growing up, when I heard the name Pamela Anderson, it was as a sex symbol, as CJ on Baywatch, Barb Wire. A film of this nature was never something I would have expected. Much like her character, she was typecast, stuck in a proverbial rut. The hot blonde, the bombshell, known more for her looks than her talent. An unfortunate reality that was remedied thanks to the genius directing of Gia Coppola and the almost heavenly intervention of Anderson's own son by giving his mother the script when her agent wouldn't.

The story is beautifully human, it feels almost like a dream at times. The lights and glitter of the show girl lifestyle bleed into everything about Shelley, it is a part of her. With an impressively powerful performance from Jamie Lee Curtis as the stereotypical Vegas citizen, fake tan and hair dye with a penchant for gambling and drinking too much. Rounded out by the always talented Kieran Shipka as the young girl on scene, and the amazing Brenda Song as the realistic voice of reason. (Oh how we've missed you). Of course, the most sensitive and awkward part played by the surprisingly gentle Dave Bautista, a uniquely beautiful and human performance from a man often typecast as the big brute.

This is very much the ultimate performance of Anderson's career. The crowning achievement on a headdress filled with some slightly less impressive moments, clearly showing that beauty does not negate talent and that actors like Pamela Anderson should be given platforms to shine and thrive as The Last Show Girl has. My only regret is that we were not allowed to see a performance like this from her until now.

My wife and I watched The Last Show Girl (2024) in theaters last night. The storyline follows the final days of a Vegas show that has been running for nearly 40 years. At the center of the story is a woman who has dedicated her entire life to the show, sparking resentment from her loved ones. She struggles to understand their anger until she's forced to confront the consequences-possibly too late.

Directed by Gia Coppola (Palo Alto), the film stars Pamela Anderson (Baywatch), Brenda Song (Dollface), Kiernan Shipka (Mad Men), Jamie Lee Curtis (Halloween), and David Bautista (Guardians of the Galaxy).

This is a compelling character study with a unique premise and fascinating perspectives. The acting is exceptional, with Anderson delivering a standout performance, while Bautista and Curtis also shine in their supporting roles. The writing masterfully explores the characters' internal struggles, whether it's the addictive high of recognition, gambling addiction, or feelings of inadequacy. These inner conflicts are portrayed with remarkable depth. However, some subplots feel underdeveloped, and I question the necessity of Jamie Lee Curtis' dance scenes and nudity, which didn't seem to add much to the story. The ending was solid and wrapped up the narrative fittingly, though I found myself wanting more.

In conclusion, The Last Show Girl is a well-executed character piece, though certain elements could have been further explored. I'd score it a 7/10.

I can't say a lot of nice things about this movie. It's not particularly well-written (fairly predictable, and the denouement is given as the setup as the start). The picture is grainy, giving it the feel of a student film, and pacing that of a not particularly coherent documentary. Most of the performances are perfunctory at best.

What I will say nice about this is that some of the performances are very good. Pamala Anderson partway eschews her previous blonde bimbo persona (big boobs in a tight swimsuit running down the beach...) and puts some meat on a character who is delusionally tragic. She has some moments towards the end that show some acting range that's we've not often (or ever) seen from her in her past roles. Shelly's despair and hopelessness is finally given the permission to vent, and there's hope for the audience that perhaps this will push her to something more (it doesn't). Her use (or non-use) of makeup throughout the movie is also interesting, in keeping with Anderson's own stance against cosmetics. Makeup is only used when she wants to show her "stage" self (when she's actually on stage, when she's on a date). Otherwise her face is clean, showing her age, but also showing the basis of her natural beauty.

Jamie Lee Curtis gives an interesting (I wouldn't say great, but I could see her getting nominations for it) as Annette, Shelly's assumed best friend. Where Shelly is partially defined by the absence of makeup, Annette is defined by its constant presence, a failed, delusional attempt to hide her age, which instead emphasizes it. She is employed, but self-destructive (I can drink and gamble on my own time), frittering away her money instead of planning for the future (I'll work until I drop dead).

Dave Bautista plays the clueless oaf, Eddie. He's awkward, unstylish (though stylish in his own mind) and dead inside, even as he is somewhat secure in his position in the scheme of things. He just rolls along with the punches, taking what is in front of him, but not with any huge ambitions.

This is the thing with all of these performances, the good and the not so good. All of them are taking what's in front of them, with no real ambition. Taking the safe route of what they know. Even the younger ones, knowing they will soon be out of jobs, are going to auditions, not for "quality" shows that require real dancing skill, but shows more explicit than the traditional "nudie" shows of the old Strip, which could be more realistically defined as live, onstage, softcore porn.

All in all, this is a depressing movie, offering little hope for the downtrodden.

Wow. Wow. WOW! One of the best movies I've watched at Regal theaters! One of the best movies of the year and recent times. Pamela Anderson is an ACTOR! Some will say typecast: BS. This was a first-rate acting performance. As were all the others in supporting roles, the only lead was Pamela Anderson, and she delivered! It stars Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, Billie Lourd, and Jason Schwartzman. BRAVO BRAVO!

Yet without a vision of direction and implementation to perfection, the acting cannot be carried out to this level. Sofia Coppola shows us once again that her voice is remarkably different than other famous Coppolas, namely her father. Sofia Coppola has become the master of closeups in modern film. These intense, up-close encounters with actors allow for emotions to carry the story while the script so eloquently flows in an effortless manner!

Kate Gersten writing in this is Oscar grabbing! These people and those in costumes, hair, makeup, lights, sounds, and sets-BRAVO, BRAVO!

Bravo: Cinematography: Autumn Durald Arkapaw Edited byBlair McClendonCam McLauchlinMusic byAndrew Wyatt.

This movie needs special marketing so its audience knows who buys tickets. Similar to A24 Babygirl. A24 is a master of marketing, promoting these types of films. Yet this The Last Showgirl blows past Babygirl! This movie is by Utopia Media. High Frequency EntertainmentPinky PromiseDetourDigital Ignition EntertainmentDistributed by Roadside Attractions.

I never expected to write a review urging a reconsideration of Pamela Anderson or extolling her virtues. To be honest, I never expected "Pamela Anderson" and "virtue" to appear in the same sentence. But here we are.

In "The Last Showgirl," Shelly (Anderson) is a dancer in Le Razzle Dazzle, a revue that features lots of rhinestones, glitter, feathers and displays of semi-nude women. It's the kind of show that developed a following when the Rat Pack popularized the glitz and glamor of Las Vegas in the 1960s. Shelly's been at it for 30 years. She's a maternal figure for Mary-Anne (Brenda Song) and Jodie (Kiernan Shipka), two of the younger girls in the revue. Shelly is proud of what she does for a living. She realizes she lives for the spotlight. At one point, Shelly reflects, "Feeling seen, feeling beautiful, that is powerful. And I can't imagine my life without it." For Shelly, dancing isn't just a job, it's a vocation she's chosen happily.

Early on, we learn that Le Razzle Dazzle will be closing in two weeks. The news sends Shelly's life into a tailspin, since this job is the bedrock of her existence. In the midst of all this, she's trying to re-establish a connection with her daughter, Hannah (Billie Lourd). There's a "show must go on" attitude among the dancers. Shelly auditions elsewhere, claiming to be 36, but the newer shows in Vegas are raunchier and there's no demand for a dancer who's well on the wrong side of 50. Clearly, life is coming at Shelly fast, whether she likes it or not.

One of the positive elements of "The Last Showgirl" is the sweet, tender, wistful and melancholy tone created by Director Gia Coppola. Beginning with "Palo Alto" in 2013, her first film, Coppola has shown a facility for treating characters thoughtfully, respectfully and sensitively.

Writer Kate Gersten shows surprising self-confidence in her first screenplay for the big screen. She's got plenty of experience, however, writing several episodes for TV's "The Good Place" and "Mozart in the Jungle." Here, the script has periods of silence that some critics hated. (I thought these scenes just offered time for reflection.) Other critics were annoyed that there's no big epiphany, no major life lesson. But Gersten gives her characters time to breathe and to truly be seen. In my view, that's quite enough. Along the way, Gersten gives Shelly some funny, fabulous lines. Having once relocated to New York City and auditioned with the Radio City Rockettes, Shelly observes, "I found all the kicking very redundant."

The supporting cast, particularly Jamie Lee Curtis, are perfectly fine. But these roles serve primarily as lenses that offer the moviegoer a chance to observe Shelly from several different points of view.

What makes "The Last Showgirl" so mesmerizing is Pamela Anderson. In fairness, her dramatic range is pretty narrow and there's almost no distance between Anderson and the character she's playing. Shelly/Anderson have both been willing to be objectified in order to be in the spotlight. They've made bad career choices. They've made worse choices with men. Their personalities are quite similar - giggly, funny, insightful, self-deprecating and so enthusiastic that, in real life, we wondered if it was all an act. It wasn't. What makes "The Last Showgirl" a very good film is the shocking level of honesty that we see in the lead role. This Shelly/Anderson is very willing to look the audience in the eye, wear no makeup to deflect her age, strike a defiant pose and smile. There's nothing subtle and nothing earth-shattering about what's happening here. But it's raw, real and compelling.

"The Last Showgirl" is a story about a character and a real-life actress working very hard to be seen and known on her own terms. Along the way, the showgirl and the actress probably spent too much time chasing the spotlight and not enough time thinking about the consequences. And they both may have mistaken attention for respect. But both are still standing - proud, defiant, unbowed, deserving our consideration. By the end of the film, I was pulling for both of them.

Pamela Anderson, a 14 time veteran of the cover of Playboy magazine, the record, joins a list of older women now appearing in the public prints en deshabille. What good does this do? All strapped up at age 57, she maintains a good figure, but this film, bemoaning the fate of women whose careers depend upon their looks, excites more pathos than sympathy. A good woman by all accounts, she must have known, as the Rolling Stones sang, "time waits for no one." Her performance, directed by the granddaughter of Francis Ford Coppola, is excellent, but the dialogue veers from inconsequential to incomprehensible and the ever-wobbly handheld camera fails to convince that we are looking at "the real world."

Imagine The Substance, but with less blood and a stronger focus on realism. At its heart, this is the story of a woman who sacrificed everything for her art-her time, relationships, and even her sense of self. Yet, instead of being celebrated for her devotion, she is discarded when her youth and beauty begin to fade. It's a poignant and heartbreaking tale, one that reflects society's harsh judgment of women as they age.

The central theme-that society devalues women past a certain age-is far from new. However, this film manages to approach the topic with a depth and nuance that makes it feel fresh and urgent. It's a stark reminder of how relentless societal expectations can be, especially for women whose worth is often tied to their appearance rather than their talent or character.

Teen girls and young women should watch films like this to understand the challenges they might face in a world that often prioritizes youth over substance. Perhaps even more importantly, boys and young men should experience stories like this to gain empathy and awareness, and to understand the role they can play in dismantling these toxic norms. If we don't challenge these attitudes, the cycle will continue, leaving future generations to grapple with the same painful realities.

In any case, this movie delivers a solid narrative backed by a standout performance from its lead. The emotional weight of her journey is palpable, drawing the audience into her world with raw authenticity. It's a film that lingers with you long after the credits roll, serving as both a warning and a call to action.

All in all, it's a compelling, thought-provoking piece of cinema that deserves to be seen and discussed.

There's a meta quality to "The Last Showgirl" that satisfyingly fills out the admittedly thin screenplay and makes this film more meaningful than it might otherwise have been.

It's yet another movie about how poorly the entertainment industry treats aging women, and while I don't suggest that it's a problem that has gone away or isn't deserving of recognition, it's also a trope that's been done to death. The supreme example is of course "Sunset Boulevard" way back in 1950, and that also stands out because of its meta qualities.

Pamela Anderson gives a touching performance as a blonde bombshell who had sex appeal to sell at one time, but who finds that she doesn't know what to do now that no one is buying what she's selling. One of the things I liked best about the movie is that Anderson is not a straight-up victim of the industry. In many ways she's an unsympathetic character, and the screenplay, and Anderson's performance, asks us to confront how much she's been responsible for her own delusions. It makes for a much deeper character and a more interesting movie, and that also is something that links the treatment of the material in this film to the aforementioned "Sunset Boulevard."

As I write this comment, Jamie Lee Curtis is a potential Oscar nominee for her performance as Anderson's best friend, a cocktail waitress on the brink of financial catastrophe. I always enjoy Curtis, though I don't know that I would say she warrants an Oscar nomination for this film. I think what people are responding to is Curtis's willingness to let her body be filmed in all its unflattering glory, because we're still taught that aging women should be ashamed of their bodies and it's brave of them not to be. Kind of makes the movie's point for it, if you ask me.

One of my favorite performances in the film comes from, of all people, Dave Bautista.

I think "The Last Showgirl" maybe wants to be a more biting expose of the industry than it is, but I did enjoy it as a sad character study.

It also cemented for me all of the reasons that I hate Las Vegas.

Grade: A-

Similar to Demi Moore in "The Substance", Pamela Anderson in this low budget 2024 drama has managed to gain significant credibility as an actress in a challenging role that allows her to provide dimension and the real-life context of her own life. Coincidentally, both actresses play women who face the harsh consequences of growing older in their chosen long-term professions. In Anderson's case, she plays Shelly, a longtime showgirl who finds out her Vegas revue Le Razzle Dazzle is about to close after a thirty-plus-year run. Completely unprepared for its termination, she struggles to figure out what to do next and concurrently faces challenges relating to her estranged daughter Hannah. The plot is that basic over a fleet 85-minute running time, but director Gia Coppola (granddaughter of Francis, niece of Sofia) and scenarist Kate Gersten are more intent on creating a mood piece about people who are marginalized by the shifting economics dictating the Las Vegas Strip. Even though there are too many wordless shots of her wandering around and staring by herself, Anderson completely nails her performance, and to say she is ideally cast is an understatement. It's not an easy part either as she has to convey a naive image of her career as an artist despite the cynicism and harsh realities that threaten to drown her. She doesn't hide anything we know about her, and her brazen honesty resonates through her squeaky voice and shrieks of self-denial. Kiernan Shipka and Brenda Song effectively play her younger colleagues Jodie and Marianne, who view Shelly as a maternal figure. Billie Lourd plays Hannah a bit passively on a melancholy note. As the show's stage manager Eddie, who has a more personal history with Shelly, Dave Bautista has turned into quite a solid character actor and delivers an intentionally controlled turn here. It's no surprise that Jamie Lee Curtis steals her few scenes as best friend Annette, a former showgirl colleague who has aged out and been left stranded as a cocktail waitress. Her shopworn appearance and see-through bravado elicit laughs and pity. Each of the supporting characters have their own stories to tell, and I wish more insight was shared to explain certain scenes. However, this is Shelly's plight, and believe me, on that front, Anderson delivers the goods.