Popularity: 4 (history)
| Director: | Gia Coppola |
|---|---|
| Writer: | Kate Gersten |
| Staring: |
| When the glittering Las Vegas revue she has headlined for decades announces it will soon close, a glamorous showgirl must reconcile with the decisions she’s made and the community she has built as she plans her next act. | |
| Release Date: | Dec 13, 2024 |
|---|---|
| Director: | Gia Coppola |
| Writer: | Kate Gersten |
| Genres: | Drama |
| Keywords | female friendship, female protagonist, las vegas, audition, showgirl, woman director, mother daughter relationship |
| Production Companies | High Frequency Entertainment, Digital Ignition Entertainment, Utopia, Pinky Promise |
| Box Office |
Revenue: $6,380,079
Budget: $2,000,000 |
| Updates |
Updated: Oct 10, 2025 Entered: Sep 13, 2024 |
| Name | Character |
|---|---|
| Pamela Anderson | Shelly |
| Jamie Lee Curtis | Annette |
| Dave Bautista | Eddie |
| Brenda Song | Mary-Anne |
| Kiernan Shipka | Jodie |
| Billie Lourd | Hannah |
| John Clofine | Poker Player |
| Jason Schwartzman | Director |
| Patrick Hilgart | Brad |
| Jesse Phillips | Wardrobe Dresser |
| David Avne | Restaurant Patron (uncredited) |
| Sean Patrick Bryan | Restaurant Patron (uncredited) |
| Name | Job |
|---|---|
| Kate Gersten | Screenplay |
| Cam McLauchlin | Editor |
| Blair McClendon | Editor |
| Gia Coppola | Director |
| Autumn Durald Arkapaw | Director of Photography |
| Andrew Wyatt | Original Music Composer |
| Natalie Ziering | Production Design |
| Nicholas Faiella | Art Direction, Set Decoration |
| Lisa Medina | Art Direction |
| Sebastian Pardo | Title Designer |
| Jennifer Furches | Script Supervisor |
| Jacqueline Getty | Costume Design |
| Katy McClintock | Hair Department Head |
| Gina Monaci | Makeup Department Head |
| Johnny Callaway | Second Assistant Director |
| Jason Lombardo | First Assistant Director |
| Tyler Albrecht | Stunt Coordinator |
| Vincent Foeillet | Second Unit Director of Photography |
| Julie Goldman | Casting |
| Rainy Jacobs | Costume Design |
| Marc Boyle | Key Hair Stylist |
| Erin LeBre | Key Makeup Artist |
| Stephanie Hobgood | Makeup Artist, Hairstylist |
| Joel Henry | Unit Production Manager |
| Agnieszka Szostakowska | Set Designer |
| Juan Campos | Sound Re-Recording Mixer |
| Zach Goheen | Supervising Sound Editor |
| Brian Bartolini | Chief Lighting Technician |
| Gregory Butler | Choreographer |
| Tom Pieczkolon | Production Sound Mixer |
| Dylan Lynch | Set Designer |
| Megan Brown | Makeup Artist |
| Renai Buchanan | Sound Effects Editor |
| Arantxa Oliver | Foley Artist |
| Juan Pablo Omana | Foley Mixer, Foley Editor |
| Zak Stoltz | Visual Effects Supervisor |
| Judy Craig | Visual Effects Producer |
| Roman Coppola | Thanks |
| Sofia Coppola | Thanks |
| Francis Ford Coppola | Thanks |
| Eleanor Coppola | Thanks |
| Sean Baker | Thanks |
| Macaulay Culkin | Thanks |
| Miley Cyrus | Songs |
| Name | Title |
|---|---|
| Natalie Farrey | Producer |
| Robert Schwartzman | Producer |
| Dani Koenigsberg | Executive Producer |
| Nick Darmstaedter | Executive Producer |
| Kate Gersten | Executive Producer |
| Brandon Lee | Executive Producer |
| Michael Clofine | Executive Producer |
| Jessamine Burgum | Executive Producer |
| Kara Durrett | Executive Producer |
| Alex Orlovsky | Executive Producer |
| Duncan Montgomery | Executive Producer |
| Jack Selby | Executive Producer |
| Josh Peters | Executive Producer |
| Matthew Shire | Co-Executive Producer |
| Cole Harper | Co-Executive Producer |
| George Rush | Executive Producer |
| Tracey Huff | Co-Executive Producer |
| Craig Huff | Co-Executive Producer |
| Don McCarthy | Co-Executive Producer |
| John Slonieski | Co-Executive Producer |
| Jennifer Goodridge | Co-Producer |
| Robina Riccitiello | Executive Producer |
| Gia Coppola | Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 2 | 4 | 1 |
| 2024 | 5 | 4 | 8 | 2 |
| 2024 | 6 | 5 | 15 | 2 |
| 2024 | 7 | 6 | 11 | 2 |
| 2024 | 8 | 7 | 11 | 3 |
| 2024 | 9 | 16 | 41 | 7 |
| 2024 | 10 | 13 | 18 | 10 |
| 2024 | 11 | 18 | 28 | 10 |
| 2024 | 12 | 27 | 66 | 12 |
| 2025 | 1 | 29 | 44 | 16 |
| 2025 | 2 | 28 | 66 | 14 |
| 2025 | 3 | 14 | 49 | 2 |
| 2025 | 4 | 6 | 10 | 4 |
| 2025 | 5 | 5 | 10 | 3 |
| 2025 | 6 | 5 | 8 | 3 |
| 2025 | 7 | 3 | 4 | 2 |
| 2025 | 8 | 2 | 3 | 2 |
| 2025 | 9 | 3 | 4 | 2 |
| 2025 | 10 | 3 | 4 | 2 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 10 | 86 | 415 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 9 | 333 | 654 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 8 | 399 | 714 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 7 | 176 | 636 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 6 | 66 | 480 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 5 | 23 | 564 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 4 | 51 | 413 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 3 | 20 | 258 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 2 | 6 | 383 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 1 | 61 | 444 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 12 | 216 | 606 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2024 | 11 | 162 | 498 |
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 dau ... ghter “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.
<em>'The Last Showgirl'</em> 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-wa ... tch 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.