Category Archives: Pamela Anderson

The Naked Gun-2025

The Naked Gun-2025

Director Akiva Schaffer

Starring Liam Neeson, Pamela Anderson

Scott’s Review #1,501

Reviewed November 20, 2025

Grade: B-

With different levels of cinema for audiences to choose from, The Naked Gun (2025), a reboot of a long-dormant franchise, is meant for a particular spoof comedy fan who expects goofiness over a heavy subject matter.

It’s not The Godfather (1972), 2001: A Space Odyssey (1968), or Vertigo (1958), and pondering a more profound meaning or luxuriating in great visual art will not happen.

Instead, for some tepid chuckles and escapist fare from a rough day at work or a family matter one is hoping to run away from, director Akiva Schaffer crafts a smirky one-liner riddled experience in lunacy.

The fourth in The Naked Gun franchise, and the first in over 30 years, the plot follows the son (Liam Neeson) of Lt. Frank Drebin, also named Frank Drebin, as he steps into his father’s footsteps to prevent the closure of Police Squad.

Fans know that Leslie Nielsen played bumbling Frank senior in the first three installments, while George Kennedy played his sidekick, Captain Ed Hocken. Priscilla Presley played love interest Jane Spencer.

Essentially, Nielsen is replaced by Neeson, Kennedy by Paul Walter Heiser, and Jane by Pamela Anderson.

Preseley does quickly appear in a cameo (if you could even call it that), sitting on a sofa watching television.

While it is familiar territory to someone like me, who has seen only one other in the series and barely remembers it, the pattern is very one-note and more of a retro greatest hits compilation than anything new and noteworthy. 

If we’re talking the 1980s, think Police Academy for a similar reference, and there is little reason I see to dust the franchise off the shelf.

We meet the new Lieutenant Frank Drebin Jr. of the LAPD Police Squad, who single-handedly dispatches a gang of bank robbers while disguised as a schoolgirl.

The fact that he morphs from a 3-foot-tall girl into a 6-foot-tall grown man is expected to be plausible.

Unbeknownst to Drebin, the bank heist is a distraction to steal a gadget called the “P.L.O.T. (“Primordial Law Of Toughness”) Device” from a safe deposit box by the film’s villain Richard Cane (Danny Huston), who is intent on reverting the human race to primal animals who kill each other.

This is to make sure that the world’s billionaires are safe to rule the planet.

The audience is not expected to wonder who will be left to serve the billionaires, or otherwise do the world’s grunt work.

The fewer plot points asked, the better.

Predictably, hard-edged Police Chief Davis (CCH Pounder) reassigns Frank when his over-the-top law enforcement becomes a legal liability.

From there, we watch Drebin eat bad food, have diarrhea, and suffer further embarrassments while working alongside Beth Davenport (Anderson), a crime novelist, to figure out why her brother died in a car accident deemed a suicide.

It’s hard to believe Neeson is the same actor who received an Oscar nomination for playing Oskar Schindler in the 1993 masterpiece Schindler’s List.

Still, shifting to an action star in 2008 proves that some actors accept projects to stay relevant.

While the plot is inane and easy to dissect with over-the-top plot points, overacting, and silly potty jokes, it can almost be overlooked for simple moments that bring a sliver of joy.

The chemistry between Neeson and Anderson is not bad, mainly because the actors know how to create it. As they banter and deliver monotone dialogue, the woodenness actually becomes an asset.

The scenes that made me smile were solely between the duo as they embraced the lines served to them to the best of their ability. Creating enough comic wit to remain entertaining, I clamored for more between the two and less of the ridiculousness of everything else.

Neeson and Anderson are the saving grace in an otherwise shit show.

The Naked Gun (2025) knows what kind of film it is, which helps level-set expectations. There is something refreshingly silly about anticipating a bad movie and having fun with it nonetheless.

The Last Showgirl-2024

The Last Showgirl-2024

Director Gia Coppola

Starring Pamela Anderson, Jamie Lee Curtis, Dave Bautista

Scott’s Review #1,459

Reviewed January 12, 2025

Grade: A

The Last Showgirl (2024) is a powerfully acted and beautifully written story about an aging Las Vegas showgirl who struggles to find relevance and retain her identity after her show closes.

Pamela Anderson’s career-highlighting performance leads the film, featuring stellar acting from Jamie Lee Curtis, Dave Bautista, Billie Lourd, and Kiernan Shipka in supporting roles.

The story showcases a disenfranchised and easily dismissed group of Vegas performers like Boogie Nights (1997) did for the adult film industry and The Wrestler (2008) for the professional wrestling community.

Gia Coppola, granddaughter of legendary director Frances Ford Coppola (The Godfather and The Godfather Part II, 1972-1974), has talent in her blood as she creates the proper mood and the setup to showcase outstanding performances and the underbelly of the Vegas glitz and glamor.

Coppola uses handheld cameras and mostly close-up shots, which could distract some but allow for the rawness and blatancy of seeing Anderson, mainly sans makeup.

The film is a poignant story of resilience that anyone troubled by the aging process regarding their career and livelihood can easily relate to.

Pamela Anderson is a revelation as Shelley, a showgirl who must plan for her future when her show abruptly closes after a thirty-year run. She is proud to be in Le Razzle Dazzle, a classic French-style revue at a casino on the Las Vegas Strip, and views the show as glamorous art rather than a nudie show.

Her co-stars in the show include several younger women, including Mary-Anne (Brenda Song) and Jodie (Kiernan Shipka), who view Shelly as a mother figure.

Shelly’s older best friend, Annette (Jamie Lee Curtis), is boozy and has a gambling addiction, yet maintains a close relationship with Shelly. Years ago, she was ousted from the show and now works as a cocktail waitress.

Anderson, for years known as a sexpot, blonde bombshell femme fatale type who dates rockstars and keeps in the headlines, gives a stunning acting performance.

I was floored.

With her baby voice and kindness, the character of Shelly allows Anderson to give a refreshingly raw and dramatic performance. Usually there for everyone else, she faces an uncertain future, leaving her exposed and vulnerable.

A side story involves Shelly’s estranged daughter, Hannah, played by Billie Lourd. Shelly’s attempt to reconnect with her is interesting but not as effective as the loss of her show and her struggle with identity.

Anderson’s best scene occurs at the beginning and end of the film when she is forced to audition for a modern and sexy stage show. Shelly is confident and insecure as she struts around the stage to a 1980s Pat Benatar song, clumsily revealing her time capsule world with her song choice.

Ridiculed and brutally given honest advice by the director, she nonetheless champions herself, boldly describing herself as ‘fifty-seven years old and beautiful.’

One can’t help but see Anderson stripping off her defenses and applying makeup for herself and her character, Shelly.

Curtis gets better and better with age and now accepts supporting roles with grit and mustard rather than genre roles that define her. Annette wears dated blue makeup and a hairstyle she has undoubtedly had since the 1980s but cannot be held back; she is proud of who she is.

Former professional wrestler Bautista is amazing as Eddie, the revue producer.  Having succeeded at wrestling, he has now brilliantly forged into acting with stellar results. He gives a heartwarming performance.

The Last Showgirl (2024) left me mesmerized, teary, and pondering life and the reality of getting older. It does what great films are supposed to do and left me thinking long after the credits rolled.

Thanks to several awards season nominations for Anderson and Curtis, the small film receives proper exposure and word-of-mouth credibility, encouraging many cinema fans to see it.