The Last Supper

This 1995 dark comedy sees a group of murderous liberals (Cameron Diaz, Ron Eldard, Annabeth Gish, Jonathan Penner and Courtney B. Vance) inviting conservatives to dinner where poisoned wine is on the menu. Not to be confused with Trump Wine. They’re not that cruel.

Stacy Title serves the satire with a healthy side of unreality, having thunderstorms cloud dramatic scenes and events escalate faster than the tomato plants growing in the garden where the bodies are buried. Its ideas may not be garnished with much sophistication but the film certainly has them, which is more than can be said for Title and Penner’s last feature The Bye Bye Man. Dan Rosen’s script even-handedly cuts through liberal hypocrisy as sharply as reactionary ignorance, the bar for what constitutes an intolerable opinion falling with each increasingly tomatoey meal.

It’s surprising that a ’90s Cameron Diaz movie (from the director of something called The Bye Bye Man) would feel so relevant in 2019, working as a critique of “cancel culture”, the silencing of dissenting opinions and the kind of liberals who read the Daily Mail for the sake of gleeful outrage. That one of the condemned conservatives is a teenage girl seems equally pertinent in the social media era, her age inconsequential to her hosts with their ears closed and knives out. They  jump to assuming the worst of their political opponents, deliciously played by Bill Paxton, Ron Perlman and Jason Alexander (plus a cameo from Elizabeth Moss’ face on a missing child poster).

A bitingly witty warning against abandoning humanity for political victory, The Last Supper calls for tolerance and discourse in a world of rotten dogma. Certified Fresh.

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