L'ultime souper

This is a wicked black political satire of some left-wing intellectuals who decide to strike against right-wing "extremists". It has an excellent cast, especially with Courtney B Vance, Ron Perlman, and Cameron Diaz (who is a real surprise).

It also has a brilliantly witty script, like a 90s Oscar Wilde or George B Shaw with more sharper bite. I thought the setup and the climax were particularly effective, especially at handling complex political questions with an easy-to watch and a very engaging approach(which I have to say IMHO is rare for American movies). A totally professional production all round. This is the way smart independent films should be, and it's a shame not all of them are this clever or perceptive.

Obviously not meant for all tastes, but if you're fairly open-minded and like intelligent dark satire, this is a real treat.

This is a dark comedy/drama about extreme political views and intolerance. The point of the movie is that some people just wants to be told right and have whatever opinion they have prevail in society.

The message is supposed to be that both extremes are just as bad, and the arguments of both parts are just as simple minded and void of deep, that's intentional. But also that both have the right to exist and is healthy for a society to have a wide variety of opinions.

None of the characters are supposed to be geniuses or deliver any intelligent argument, on the contrary: they're meant to be very close minded. It's obvious that the characters are supposed to be opinionated, self righteous and vapid...not to mention over the top stereotypes (and i mean both the hosts and the guests). The movie itself it's an exaggeration to illustrate a point.

As the plot progresses the characters get more sucked into violent actions (by conviction or group pressure), the bodies start to pile up and the situation spirals out of control. The only character that is more on the normal side, is the cop/sheriff (Nora Dunn). Side note: I liked her performance by the way, and I usually don't like her acting, but she was OK in this one (although not very memorable).

I'm sad to see some of the people who made reviews for the movie didn't get what it was meant to say or bother to watch this all the way through (because it's mentioned in the movie near the end, in case you are a bit slow). But that is exactly the point of the movie, some people just wants to be told right and have whatever opinion they have prevail in society.

On the comedy side, it's got a mild feel of screwball without going too crazy with it, that was very enjoyable. To put this in other words: it doesn't go into Clue or Arsenic and old lace territory, is more subtle but is still noticeable. The comedy moments are very controlled, but is still very funny if you relax and just watch it, instead of taking sides.

To sum it up, the plot is original enough to be interesting and it's very funny if you don't get defensive. It delivers what was promised.

Never let it be said that only the British can do political satire. Here we see five (liberally-minded) housemates start poisoning all those who they believe will cause more harm than good in life.

Hardly a topic for comedy you might think, but then what you get is the blackest of black humour imaginable. However, it's not just darkly comic, but it also poses quite a few questions about morality along the way. You'll find yourself agreeing with both sides' points of view at some stage I'm sure.

Plus, all the performances are equally strong - Cameron Diaz in a most 'un-Cameron Diaz-like' role, but it's Ron Perlman and Bill Paxton who probably steal their respective scenes.

If you're looking for a laugh-a-minute comedy with a feel-good vibe to it, then steer clear. However, if you're after something much nastier which will make you think, while even raising the odd smile, then give this a go.

It was a warm summer night and I was in the video store with my girlfriend. " Hey, this movie has that guy Bill Paxton in it, isn't that the guy you like? " I thought I had seen every Paxton movie out there but I was pleasantly surprised that there was one that I hadn't seen. So we rented it and even though Bill has a small cameo in the film, I enjoyed this film more than I thought I would. First the acting by the major actors is incredible and all the cameos by famous faces is fun to watch. Luke ( Courtney B. Vance ) is my favourite character in the movie. He seems to be a little more intelligent, a little more sinister and a little more angry than the rest of them. And it is his persona that I look forward to seeing in every scene. I looked forward to see what he was going to come out with next. What sick, twisted but convincing point of view that he would coerce his cronies into believing.

The story is about a few friends that are liberals at heart. They have their pretentious meals and drink their pretentious wine every night and talk about what is wrong with the world. Then Paxton comes into the picture and he changes everything.

This film didn't get a whole lot of attention when it came out, but now with Paxton's star clearly on the rise after Titanic and A Simple Plan and Cameron Diaz in the upper echelon of actresses, this film may appeal to more people. And you should do yourself a favour and make yourself one of those people. This is a great film. And besides the entertainment value, it really has something interesting to say. Deciding whether or not you agree with it is half the fun.

The dark and slippery satire THE LAST SUPPER is an Orwellian farce, which, whether or not it intends to be, represents the distasteful course that American liberalism has taken over the past few decades. As a meal, THE LAST SUPPER hopes to serve up food for thought, but proves to be more fast food than grand cuisine. And, before we end the lame and obvious food metaphors, let's just say the film has a meaty premise, but is hard to swallow because it is half-baked -- okay, three-quarters baked.

The plot is simple: five rather smug and pretentiously liberal graduate students in Iowa, the heartland of American conservatism, have a weekly ritual of inviting a guest to Sunday dinner so that they can have philosophical conversations about politics. Apparently meant to be self-indulgent and self-congratulating chatter more than real debate, the intellectual hour goes astray when an unexpected guest proves to be a far right lunatic who expresses his sympathy for Adolph Hitler. Before the dessert gets served, it is the guest who gets carved up and the new Sunday night ritual becomes supper and a homicide. After some superficial debate, the housemates decide that they would be doing the world a favor by disposing of potential Hitlers before they became real life Hitlers. It is liberal activism taken to its not-necessarily-logical extreme.

Their guest list (of cameo guest stars) begins with the lunatic war vet (Bill Paxton), a homophobic priest (Charles Durning), a male chauvinist (Mark Harmon) and an anti-environmentalist (Jason Alexander), but quickly degenerates to lesser villains (played by lesser actors) that include an anti-abortion activist, a librarian who dares to object to "The Catcher in the Rye" and a virginal teenage girl who doesn't approve of sex education in school. The checklist of villains (in rapidly declining order) is obviously meant to show how easily the power to destroy can become indiscriminate and, indeed, addictive.

The film has been deemed anti-conservative by some because the supposed heroes are lefties and their victims are from the right and, at least at first, espouse only the most extreme notions of conservatism. But the point is that the various dinner guests do not represent typical conservative thought, but are grotesque caricatures of right wingers. The war vet -- seen through far left eyes -- can't be just patriotic, he has to be a crazed fascist. The priest can't merely see homosexuality as a sin, he has to be virulent in his hatred. The anti-feminist has to be a proponent of rape. Etc., etc., etc. The quintet of killers are not heroes or even anti-heroes, or even psychopaths, but clean-cut, well-educated, well-intentioned typical liberals who become drunk with their own sense of self-righteousness. Their hunt to destroy future Hitlers blinds them to the reality that they are the future Hitlers. For what was Hitler, but a man who thought he could build a better society by eliminating the undesirables? The right-wing victims are such obvious caricatures that they do not inspire anger or hate, but uncomfortable humor, not unlike guest stars doing a skit on "Saturday Night Live." The weakness -- or perhaps the point -- of the left wing assassins is that they are so blandly uninteresting as individuals. This preppy death squad -- Ron Eldard, Cameron Diaz, Annabeth Gish, Jonathan Penner and Courtney B. Vance -- are so homogenized and banal as individuals that they only can be moved to action as a group. The message is that Hitler alone couldn't accomplish much, but a group willing to rationalize any atrocity as a means to a just end is the real danger to society.

It is as a critique of modern liberalism in the era of political correctness that the film is boldly, almost brazenly, sly. The groundbreaking liberalism of the 1960s, a call of dissent in the name of openness and equality, has slowly faded into the background. Diversity has become the liberal buzz word, but it is, literally, skin deep diversity, not diversity of thought. It is said that we become that which we hate the most and as such liberal idealism has increasingly become a dogma of intolerance, double standards and self-indulgence. Liberalism is no longer the antithesis of conservatism, it is the mirror image.

Of course the basic message of THE LAST SUPPER could have been told as well, but differently, with the political roles reversed. Indeed, had the film been made in the 1960s, I suspect that it would be conservatives serving the wine to liberals -- and I suspect that the film would have been satirically sharper and more outrageous. Certainly, in that case, the film's casual religious symbolism might have made sense, religion being a favored main dish to the right. But as is, THE LAST SUPPER's attempts to mock religion seem like a lame afterthought -- an ill-considered seasoning, as it were.

The film is better as a concept rather than a story and lacks a punch. Instead of being spicy or zesty or deliciously decadent, THE LAST SUPPER seems to be served up as something that is good for you, nutritious rather than satisfying. Especially the finale when the last Last Supper is with a conservative talk show host played by Ron Perlman, who may or may not be the Hitler that the we are taunted with throughout the other meals. Just desserts are served up with an ambiguous twist that is as jiggly uncertain as Jell-O. THE LAST SUPPER makes the worst social faux pas of all by sending its viewers away only half filled and hungry for something more.