The Last Showgirl

I liked it, I didn't love it.

Coppola’s direction has improved little since her equally vapid 2020 Mainstream.

Here and there, Coppola even risks Shelly seeming — shock horror — unsympathetic. We are trusted to be smart enough to handle it.

More of this would have given this showbusiness fable some welcome bite; as it is, it’s an absorbing but disappointingly tasteful watch.

Without the narrative scaffolding or depth to surround her character, Coppola’s film can often feel like a message in search of a movie.

It’s initially tempting to dismiss the picture, like its central character with her breathy, little-girl voice, as superficial. But there’s a bruising cumulative power to this melancholy little paean to an ending era.

‘The Last Showgirl’ is an emotionally resonant film, and full credit goes to Gia Coppola for crafting a fictional story that feels real.

Despite Anderson's standout performance, I get the slight feeling that the drama lacks a pulse and often remains stuck in a conventional zone that tends to overemphasize the obviousness of the dancer wanting one last show. [Full review in Spanish]

This is a poignant, engrossing and authentically moving film.

The inspired casting of Pamela Anderson and a show stopping Jamie Lee Curtis churn the gentle poignancy of The Last Showgirl into a slice of melancholic sublimity despite a narrative which might feel like a bit plain if not for the compelling zest of...