User reviews

When you think of Las Vegas, an odd assortment of images comes to mind, generally harkening back to another time: classy casinos draped in neon cutting into the night sky, Elvis Presley resplendent and sweaty in a rhinestone jumpsuit, Dean Martin and Frank Sinatra smoking and joking on stage. At the heart of all that spectacle, strutting through the haze of old-school glamour, is the showgirl, the stunning, dancing fixture of Vegas that seems to have been around for as long as time itself.

It may be surprising, but the showgirl has actually all but vanished. 'Jubilee!', the last grand revue, closed in 2016 after 35 years at Bally's. Cultural shifts, changing tastes and finances all played a role- audiences now favour superstars like Adele and Garth Brooks over sequined spectacle. When casinos stopped subsidizing productions in the 1980's, producers ditched the risk, paving the way for residencies, Broadway imports and the odd allure of Cirque du Soleil. While showgirls haven't disappeared entirely, the era of grand, glitzy revues has faded, leaving only traces of its former glory.

With the showgirl now a relic of Vegas's past, Gia Coppola's 'The Last Showgirl' steps in to explore what's left of that glittering legacy. Inspired by the closure of 'Jubilee!', the film follows Shelly, a veteran performer in Le Razzle Dazzle, a classic French-style revue. After three decades on stage, her world is upended when the show's closure is announced. Unsure of what comes next, Shelly must navigate an uncertain future while confronting what it truly means to leave the spotlight behind.

It is a touching drama, resonating on multiple levels. Kate Gersten's screenplay deftly examines the waning days of the showgirl era, serving as both a love letter to classic Vegas and a poignant meditation on aging in showbusiness. Much like Coralie Fargeat's 'The Substance'- though far less grotesque- it explores the physical and emotional toll of an industry built on youth and beauty.

At its core, it is a character study, anchored by Shelly's journey from center stage to a foot-note in the wings. Coppola lingers on the quiet moments- empty dressing rooms, fading lights, the weight of sequins that once felt like armour- painting a deeply human portrait. Through Shelly, the film contemplates the inevitable question for any performer whose identity is tied to the stage: when the curtain falls, who are you without the spotlight?

Beyond Shelly's personal reckoning, the film also explores the toll of her choices on those around her, particularly her strained relationship with her daughter. The screenplay excels in these interactions, with sharp, lived-in dialogue that adds depth to both Shelly and the richly drawn supporting cast.

In this way, the film shares DNA with Darren Aronofsky's 'The Wrestler', Bob Fosse's 'All That Jazz', and again, in a less grisly sense, 'The Substance'. It also has striking real-world parallels to the life of star Pamela Anderson, who, like Shelly, once embodied an era's idea of beauty and spectacle, then to see her status dwindle. Anderson's recent return to Broadway in 'Chicago' was a reclamation of her own narrative- proof that reinvention is possible, but never easy.

These intimate character moments are further elevated by the striking cinematography from director of photography Autumn Durald Arkapaw, as well as Natalie Ziering's lush production design. The neon glow of old Vegas flickers like a fading memory, captured in warm, nostalgic hues that contrast with the stark, impersonal corporate sheen of the city's modernity.

Moreover, Jacqueline Getty and Rainy Jacobs's costumes- especially Shelly's extravagant stage attire- serve as both a reminder of past glory and a symbol of the identity she struggles to hold onto. Complementing it all is Andrew Wyatt's evocative score, full of dreamy, melancholic undertones, mirroring Shelly's own emotional highs and lows. Together, these elements don't just recreate the lost world of the Vegas showgirl- they immerse one in it, making the film not just a story of one woman, but an elegy for an entire era.

Yet, without a strong lead, the film could have easily faltered. Pamela Anderson delivers a career-best performance as Shelly, capturing her fragility beneath layers of feathers and rhinestones. As Shelly- a woman who spent decades in the spotlight, now struggling to find her place in the shadows- Anderson is quietly devastating. While her own public persona adds an intriguing meta-layer to the role, it's her vulnerability, grace and effortless authenticity that make Shelly feel so achingly real.

Furthermore, Jamie Lee Curtis does typically fine work as Shelly's friend Anette, a feisty cocktail waitress whose best years are behind her. Brenda Song and Kiernan Shipka bring nuance and depth to their roles as younger showgirls at different crossroads, while Billie Lourd is equally impressive as Shelly's estranged daughter Hannah. Additionally, Dave Bautista brilliantly underplays the role of Shelly's producer Eddie, and Jason Schwartzman makes a delightfully insidious cameo as a seedy casting director.

Much like the fading neon of old Vegas, 'The Last Showgirl' glows with a bittersweet beauty, paying tribute to an era that refuses to be forgotten. With a spectacular Pamela Anderson at its heart, Gia Coppola's film is both elegiac and deeply human, capturing the quiet heartbreak of life beneath the greasepaint. Showgirls may no longer rule the Strip, but if Shelly- and Anderson's luminous performance- prove anything, it's that true stars never really fade. They just find a new way to shine.

Jamie Lee Curtis nailed it in one of her interviews. This is a movie about the degradation of women at the end of their lives. The use of the glamour of Las Vegas showgirls to show the slow decline with an eventual fall off a cliff edge - poverty, homelessness - when they are no longer young and sexy. Eddie gives us a view of how older women *are* sexy, but only when they are not being objectified.

The audience laughed quite often in poignant moments, and I suspect it was to cover their discomfort with the journey of the two older women.

The photography was often very close, and it created an intimacy, also showing the flaws of aging bodies that were at odds with the on-stage showgirls.

Some reviewers said the characters were superficial, but I think perhaps that's a lack of personal experience with the issues these women were facing. I enjoyed this movie. It's not tragic, but it is gently heartbreaking at times.

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.

There's a lot to admire about The Last Showgirl, first and foremost the performance of Pamela Anderson. It's a role that seems made for her and it's a role she plays to perfection. The supporting cast of Jamie Lee Curtis, Dave Bautista, and more are all spot on too.

The style of the film is also hugely pleasing and absorbing. Despite the unnecessarily heavy hand on the blurry camera focus, the cinematography is largely very impressive. The sets and costumes are all perfect and the score compliments everything to a tee.

My only real criticism is that the story has no real depth to it. It traces over some familiar tropes to do with family and ageing, none of which are particularly groundbreaking or explored with any great depth. The film whizzes by in a flash with many missed opportunities to dive into Anderson's character even more.

It would be fair to say this film favours style over substance, but when the style is pretty damn impressive, this isn't necessarily a bad thing. Although it lacks depth, it presents a solid portrait of an ageing star and the realities of living a life on the stage.

I was looking forward to this, hearing much about Pamela Anderson finding her form in the film. It is true that this is by far the best I have ever seen her, let's not get over excited as she is no Meryl Streep as yet, but she was great to watch. Fortunately or unfortunately, Jamie Lee Curtis polls up to steal the show on the acting front with a superb character piece. Props also to Dave Bautista (who knew), who also showed he can act with a great portrayal of the gentle giant, who when it comes to the old time show girl and the meaning there-in "gets it". It's a simple story of age and decay of an aging ex beautiful young showgirl, still treading the boards, and also reflects parts of Vegas in a similar light, with its own age and decay. Friends holding close within this melancholic tale of broken individuals. The film helps us see, and maybe reflect on our own ticking clock. Very worthy watch 7/10.

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.

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.

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!

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.

Very beautiful movie!!

Pamela Anderson is a revelation.

The film she stars in proves that she is capable of taking on a role and bringing it to life. Her nominations at the Golden Globes and SAG Awards, as well as numerous other festivals, are well-deserved. Jamie Lee Curtis, Kiernan Chipka and Bendra Song are also perfect in their roles, and Dave Bautista surprises with his sweetness and the depth of his acting. The dancing is just decoration in The Last Showgirl, but what counts is what goes on behind the scenes. Pamela Anderson's role of a lifetime is what makes this film worth watching. A true moment of independent cinema. I really recommend.

Just Got Out of a Screening of The Last Showgirl

The Script was just too Barebones, all of the bits are here to build into, but it just ends up feeling like a framework that didn't go deep enough.

Positives -

1. I loved the Film Grain look it had

2. The Performances from Pamela and all of the other supporting cast were Good.

3. The Score of the Film was Good

Negatives -

1. There's almost nothing to the script

2. And the Final Show was lackluster on top of that, at least give us a Great Show

Overall, it was Good to see Pamela doing this Role for the Start of her Career, but the film is only Half Decent at Very Best and could of had far more to it.

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.

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.

There's something really quite touching about Pamela Anderson's performance here. She ("Shelley") is what you might describe as a more refined topless dancer who considers herself more a dancing entertainer, replete with her own body weight in feathers and costume jewellery. She has an estranged daughter "Hannah" (Billie Lourd) and it's through that strained relationship that we discover a little of just how many sacrifices she has made throughout her life, many that her daughter seems to consider more neglectful than beneficial. To add to her woes, their stage manager "Eddie" (Dave Bautista) announces that playing to ever dwindling audiences has caused their bosses to give them a fortnight before they close. With no good news on her horizon, she has to audition in an entertainment climate that isn't remotely receptive to her work whilst trying to reconcile with her daughter. Luckily, or not, she has the plentiful advice of her floor-walking barmaid friend "Annette" (Jamie Lee Curtis) who has been in the game for just as long, has a penchant for a margarita and is also pretty down on her luck in an industry where youth is key. It's Curtis (and Bonnie Tyler) who maybe offers us the most telling sequence of the film as she dances on a table and displays a vulnerability that I think many might feel as they age and feel more redundant - even in a less exposed professional environment. It doesn't help that they haven't much to show for their careers, either. This is a film about ageing that Anderson holds together strongly and emotionally and though the substance of the plot might not be the most robust, the two leading acting efforts are powerfully charismatic.

"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.

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.

'The Last Showgirl' is good. It's a movie that didn't overstay its welcome, the 89 minutes flew through. Some of the ways the characters act did feel a bit odd to me at times, though the actors all give solid performances; without those onscreen, I'd be rating it lower.

I did hear pre-watch of the positivity Pamela Anderson received for this role and I can see why, she is very good. This is the first time I've seen her in a leading role, despite knowing of her forever. I would, to be honest, put all of her co-stars in the brackets of praise near here though.

Dave Bautista particularly impresses, while Kiernan Shipka, Brenda Song and Jamie Lee Curtis do enough that I do remember them hours after viewing; which isn't always the case for the supporting casts of films that I rate like this. As noted above, it's a film made a success by its talent.

Having watched this film, all I can say is it is obviously so nice to see Pamela Anderson on the screen again. She delivers a flawless performance, portraying a fragile woman on a life's crossroads. Through her acting she does deliver a powerful energy of a woman who's been through a lot in life, yet never lost her feminine fragility, cheerfulness and amazement of life. The viewer, who knew the actress in her prime at the turn of the 80s/90s will recognize the youthful energy of the former Baywatch star, enriched with maturity, whilst creating an aura of ease as if she wasn't acting at all. At the same time, Pamela retains her natural beauty and physicality looking fresh and full of energy. One can only wish the film contained more scenes of the Razzle Dazzle performace which the story revolves around but we never actually get to see.

The supporting cast does a great job as well. Dave Bautista delivers a recognition worthy performace, same as Jamie Lee Curtis. Kieran Shipka's character is probably the least likable in the story, however that being said - it shows how well acted this character is by the young actress, Kieran.

All this being said, the film serves as a vessel for a short return to fame for Pamela, but at the same time the story resolves with no real emotional take away. I struggled to keep my attention with the varied pace of the scenes due to long pointless dialogues, and in overal had had the feeling I have already seen this film, unable to escape the notion that I'm actually watching a remake of a very similar movie - the Wrestler with Mickey Rourke. Both share a similar theme of an 80s has been star struggling with life, health and relationship issues amidst late life struggles with work, competition from younger rising stars in their industry as well as similar themes of troubled relationships with their children. At least in the end of the Wrestler, we got a powerful send of with the ambiguous ending that left many wondering about Mickey's character's fate... With The Last Showgirl, the seanse seemed to fade away like her show - unnoticed and seemingly without a takeaway of any sort.

This being said, The shining bright star of this film is still Pamela and it was great to see her return to the screen. She has shown that she does have immense talent and depth, which I hope will result in new movie deals for her, yet the film itself leaves much to be wished for and is a somewhat acquired taste.

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.

Gia Coppola hits the limelight with this near-documentary-style drama about Shelley, an ageing Las Vegas showgirl, played by Pamela Anderson in a raw and searing performance. The revue she is in, styled on Paris's Moulin Rouge is pretty tame by today's standards and earmarked for closure.

At 57, with no other skills, she faces a future of waiting tables and serving cocktails. Jamie Lee Curtis has a star cameo as exactly that, an ex-showgirl cocktail waitress. Curtis steals the movie with a show-stopping solo dance number that reminded me of Gwen Verdon's heart-rending routines in the original stage version of SWEET CHARITY.

Despite great acting and moody cinematography, THE LAST SHOWGIRL feels a little flat. The story is too slight and Anderson is the only character given enough development. And there's too long a wait to see Anderson's show routine, which is pitch perfect, with a few sad echoes of a tired old drag queen.

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.

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 .