Rent The Last Showgirl (2024)

Transformative Performance - The Last Showgirl review by griggs

The Last Showgirl plays like an unofficial remake of The Wrestler, swapping the blood and sweat of the ring for the sequins and spotlight of Vegas. Both films follow ageing performers—past their prime, clinging to fading identities—wrestling (pun intended) with obscurity, regret, and the desperate need to feel seen. Pamela Anderson's turn as Shelly echoes Mickey Rourke's Randy "The Ram"—not just in character, but in career. Both actors bring the weight of their public personas, blurred and bruised, to deliver raw, redemptive performances.

The film itself? It's a solid, humanistic take on female ageing, but what truly sets it apart is its clear feminist lens. It's engaging enough, though the ending lands with a bit of an "Oh… that's it?". The film lacks resolution in its conclusion and throughout, as several scenes and characters feel abandoned, seemingly sacrificed for a shorter runtime. It often feels like a longer, more refined film was chopped up in the editing suite, leaving behind unresolved fragments. A co-worker tearfully bangs on Shelly's door in the middle of the night, only to be turned away with no follow-up, leaving an emotional thread dangling. Then there's Jamie Lee Curtis' indulgent, unexplained Bonnie Tyler dance routine: an act of rebellion? A sign of desperation? Or just there to fill time?

What truly elevates the film above its script is the cast. Pamela Anderson's performance is not just magnetic; it's transformative. She becomes Shelly in a way that blurs the lines between character and actor. Dave Bautista's performance, though quiet, is reverential and a departure from his previous roles. Jamie Lee Curtis adds a touch of comic relief and makes the most of her limited screen time.

With this performance, Pamela Anderson has shown a new side of her acting abilities. This could mark a new chapter for her onscreen, a promising future having reclaimed her personal narrative, just as Shelly fights to reclaim hers.

Disappointing film - The Last Showgirl review by SB

I was not egaged by this film, which is why I have given the film itself a rating of two stars. However, I also watched the additional feature consisting of a discussion of the film by Pamela Anderson. I found this insight into the background and genesis of the film very interesting, and this extra feature I would rate as 4 stars. Hence the overall average is of what was available on the disk is three stars.

A monumental, shattering portrayal of being left behind with a stratospheric Anderson - The Last Showgirl review by Timmy B

This film is phenomenal. It is, like The Substance and The Wrestler, a film which takes the pop-culture baggage of a once-A list star whose light has since faded, then uses it to create a deeply personal and highly emotional portrayal of someone who has either reached a dead end in their life, or is brutally sidelined due to factors outside of their control (usually age.) And even with those who didn't really grow up with the knowledge of who they were (I was 7 when the infamous sex tape was leaked,) I still knew these references with regards to Anderson.

But what peaked my interest most in The Last Showgirl, apart from my love of both Substance & Wrestler, as well as the multiple glowing reviews, was something which I always come back to: I adore small films which, with an amazing script & actors, make a mockery of projects with 100 times the budget which are total rubbish. In the last 10 years, I can think of 50 films with a combined budget of the GDP of a small country, which cannot hold a candle to Trainspotting, London to Brighton or I Swear (which had budgets which wouldn't even cover one of the big film's marketing.)

Shelly (Anderson,) is a Vegas showgirl at Le Razzle Dazzle, an iconic revue, where she has appeared for over 30 years. She has poured her whole life & every fibre of her being into her career, neglecting her family/relationships. Then Eddie (Bautista,) the stage manager, drops the bombshell that the revue will be closing in 2 weeks due to declining ticket sales, leaving Shelly (as an older woman,) struggling with not only the loss of the show but also what she will do career-wise to keep the money coming in. Alongside this, her estranged daughter comes back into her life, with Shelly desperately trying to make up for the time lost.

I adored this film. Loved every single second of it. Not one moment felt false/didn't ring true, never was I anything other than totally engrossed in what was happening on screen. The way it was shot, in gorgeous 16mm film, was perfect. The intimate scenes, shot closely, told the story flawlessly. And the performances were revelatory. Whilst Anderson obviously & deservedly got most of the plaudits, Curtis, Lourd & especially Bautista were all incredible.

In the same way that Anderson's image was playfully subverted, Bautista, known for not only his wrestling but also pummeling James Bond to a pulp, is here transformed into a hulking, broken teddy bear. Eddie is a genuinely gentle man but also someone filled with guilt over many of his decisions, as well as the regrets of people left behind, a mirror image of Shelly. And his performance not only perfectly compliments hers, but is also genuinely good acting. Another great thing about small films is that there is no CGI/digital trickery to hide behind, so amazing acting shines through.

Another thing that profoundly moved me was Shelly's genuine love & respect for her work. Many people, including her own daughter, dismiss her career as being one chess piece move away from a stripper. But Shelly really believes in & tragically continues to fight for the final pieces of the life that is slipping away from her, and which no amount of effort can stop. It is genuinely sad to see her being pushed to the sidelines, no more so than in a tacky audition where she is told by a director that she is past it in the most dehumanising way.

But don't for a second think that this movie descends into a syrupy schmaltzy pity-party. Shelly & her colleagues, alongside the wonderfully acid-tongued Annette (Curtis) wholeheartedly support each other. The script also doesn't shy away from showing the negative side of Shelly, with a couple of scenes of her either at her wits end or just being difficult. But you never lose your love and warmth towards her.

This film is amazing. I loved it and I genuinely hope Anderson is offered more roles in the future to showcase her amazing talent.