आलोचक समीक्षाएं

[Coppola] crafts an elegy to a Vegas of a different era and the tarnished reality of once sparkling dreams.

The Last Showgirl is an achingly vulnerable picture that both catapaults Pamela Anderson into the awards conversation and stands as Gia Coppola’s best film to date.

The Last Showgirl is both the role of a lifetime for Anderson, one that can fully capture her incredible emotional intensity and vulnerability, and (we can only hope) the start of a brand new career for her.

Coppola depicts their lives with sympathy but also with clear-eyed honesty about the dreams they never achieved and the youth that's impossible to reclaim.

With stunning performances, perfect needle drops, and thoughtful, loving direction, The Last Showgirl is a stylish, emotional, and visually striking work, and a worthy exploration of its impossible protagonist.

The result is a smart, emotionally satisfying exploration of people who may no longer have a place in modern Las Vegas.

Even if The Last Showgirl feels slender overall, more consistently attentive to aesthetics and atmosphere than psychological profundity, there’s moving empathy in its portrait of Shelly and women like her, their sense of self crumbling as they become cruelly devalued.

Coppola packs a lot into the film’s 85-minute runtime, but in many ways, the complete experience feels like a slight tease. There is more to explore. There are other portions of Shelly’s life or Coppola’s increasingly poetic perspective of Vegas itself that are calling. But some moments overcome the film’s thin narrative facade and not just Anderson’s triumphant climax, either.

A shallow and slender tale of lousy dreams, worse decisions, and painful regrets, all of it predicated on a lead turn that’s too one-note to wow.

The commentary on gender and age feels easy and unspecific and the world of the Vegas showgirl created from too great of a distance to really ring true.