Movies are like baseball, three strikes and you’re out. Every artist has a bad outing or something that gets lost along the way, not communicated as intended to their audience, so benefit of the doubt has to be instilled. However, once you’re on your third project and it still doesn’t hit, then it’s safe to say that the artist and the audience are not seeing eye to eye. This is how I feel about Gia Coppola (Palto Alto; Mainstream), and unfortunately, her latest feature, The Last Showgirl, is no exception due to the lack of emotion and conviction the movie fails to deliver. An exceptional performance here and there makes this at least more sufferable, but overall the final product is a giant shrug that fails to deliver anything remarkable other than a bland look on beauty standards and the service industry that’s been done to cinematic death.
Pamela Anderson as Shelly in THE LAST SHOWGIRL. Photo courtesy of Roadside Attractions.
The movie focuses on Shelly (Pamela Anderson) who is in one of the oldest legal professions in Las Vegas, a showgirl performer. She’s joined by Jodie (Kiernan Shipka) and Mary-Anne (Brenda Song) who, upon finding out their show is getting shuttered, are young enough and diverse enough to try and find work elsewhere. Not Shelly though, who’s been doing the show for 30 years, costing her a lot along the way as well including her relationship with her daughter Hannah (Billie Lourd). She’s trying to find her footing and either save the show or go out with it as a captain would their ship, while the owner of the club and the show, Eddie (Dave Bautista), tries to help Shelly find something before it’s over. Along the way, Shelly also confides in her long-time friend Annette (Jamie Lee Curtis) in this examination of evolving times, closing shows, and agism through a modern lens.
Pamela Anderson as Shelly in THE LAST SHOWGIRL. Photo courtesy of Roadside Attractions.
What was being framed as the comeback for Anderson (City Hunter) and the role that would solidify her as something more than just the infamous tapes and Baywatch instead highlights her as the sore thumb in her own movie, showing a lack of real experience and roles over the years. Not to say that Anderson isn’t good in The Last Showgirl, but she’s easily the third in terms of acting ability and prowess, and it’s not even a close conversation. While she wears her heart on her sleeve and tries to emote the difficulty of being a working parent unable to make ends meet, her performance falls short of anything exceptional. She certainly proves she’s more than just a body and a sex symbol as she was previously seen, but she fails to emanate the heart and soul that the movie needed. Capturing the hearts of the audience, however, is Curtis (Knives out), who absolutely stuns, shines, and delivers the emotional gravitas of The Last Showgirl. Bautista (Blade Runner 2049) also shines bright, continuing to prove that his departure from wrestling into diverse roles was the best thing he could’ve done as he shows a new side to himself and another level of performance with every feature he appears in. Curtis and Bautista bring The Last Showgirl to an interesting watch that unfortunately doesn’t deliver on other cylinders.
Jamie Lee Curtis as Annette in THE LAST SHOWGIRL. Photo courtesy of Roadside Attractions.
The relationship between Hannah and Shelly is the most interesting dynamic in the entire movie, and if that was the focus or the focal point, partnered with Shelly losing the only life she knew, The Last Showgirl would’ve been a very different and much more engaging film than what was delivered. This is largely due to Lourd’s (Booksmart) performance, which deserves all the praise and recognition. It is enriched and engrossed in what feels like her relationship with her mother, Carrie Fisher (When Harry Met Sally…), and, to an extra extent, Carrie’s relationship with her mother Debbie Reynolds (Singin’ in the Rain).
Pamela Anderson as Shelly in THE LAST SHOWGIRL. Photo courtesy of Roadside Attractions.
While Gia Coppola has some large shadows to breakout from cast by her aunt and grandfather, she hasn’t managed to quite yet find her footing in feature storytelling. There are a lot of interesting pieces within The Last Showgirl that could create a compelling story enriched by supporting performances which are outstanding, but the larger pieces at play don’t entirely fit the puzzle. The dwindling days of a showgirl have been done before and differently. Relying on an actress who proves they’re more than and better than expectations have led to believe is powerful, but the support outshines tenfold, obscuring the lightning Gia hoped to convey.
Screened during Toronto International Film Festival 2024.
Screening at AMC Century City beginning December 13th, 2024 for one week.
In wider release January 10th, 2025.
For more information, head to the official Toronto International Film Festival 2024 The Last Showgirl webpage.
Final Score: 3 out of 5.
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Categories: In Theaters, Reviews
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