The Last Showgirl (2025) Dir. Gia Coppola

Amongst the backdrop of the seedy stage shows of Las Vegas, ex-Baywatch and Playboy model Pamela Anderson stars as Shelly - a middle-aged showgirl dealing with family feuds and the ever-decreasing popularity of the old-style stage event at the Razzle Dazzle venue.

Shelly acts as a mother figure to young performers (played well by Brenda Song & Kiernan Shipka) who have eyes on more prestigious shows, whilst her friend Annette (Jamie Lee Curtis) is now a struggling cocktail waitress, ditched from the show owing to her advancing age.

Shelly is shocked to hear the show will finally close from producer Eddie (Dave Bautista) which raises further worries in her life. And these stresses become increasingly complicated when her estranged daughter (Billie Lourd) arrives to disapprove of her mother’s lifestyle and childhood upbringing.

The Last Showgirl provides an interesting if surface-level look at a rundown world no longer contemporarily relevant, as well as exploring how women cope with the effects of time and aging within an industry focused on looks and beauty.

The Last Showgirl doesn’t delve into anything particularly new or observant about the issues it raises, but I may be one of few viewers these days to see simplicity as an underrated commodity in film. Too many movies overstuff their films with multiple themes and plots that far too often directors can struggle to handle, so it’s somewhat refreshing to see a straightforward tale told in a brisk 90 minutes.

That’s not to say it isn’t without its flaws. Anderson’s admirable attempts at her acting renaissance is “patchy” at best, the script needs another pass and characters are mostly underwritten. Often reduced to wistful musical moments to create a "vibe". But I can't deny that I didn't enjoy the actors's efforts overall. And Dave Bautista continues his interesting career, with each role choosing colourful projects to stretch his acting chops.

Along with The Substance - granted that’s easily a much better film - it’s also pleasing to see films showcasing an older female cast. Jamie Lee Curtis’ changing room de-robing and a later dance sequence not only reflects her character’s former glories but also harks to the actress' own famous sultry shenanigans in True Lies. She can still twirl with the best of them!

Maybe it’s just me as I grow older, but movies that focus on reflecting previous glories, the good ol’ days (were they ever in the first place?) and the toll on aging bodies, resonate with me. Am I in any position to talk about this? Who knows. However, I’d rather have slightly flawed films tackling these issues than none at all. Hollywood's past obsession with youth hasn't changed a bit in 100 years it seems.

As the basic plot develops with a clash of views, hints of reconciliation and a passionate finale, the movie delivers the kind of story you expect and it ends as more honourable than memorable by its conclusion. Not completely a razzle-dazzle of a film, like its central character, The Last Showgirl nonetheless has plenty of heart that overcomes many of the limitations around it.

★★★½

3.5 / 5

Michael Sales