It stars Cameron Diaz, Ron Eldard, Annabeth Gish, Jonathan Penner and Courtney B. Vance as five liberal graduate school students who invite a string of extreme conservatives to dinner in order to murder them.

After Zack, a Desert Storm veteran and truck driver, helps move Pete's car, the group invites him to have dinner at their home.

However, Zack turns out to be a racist, xenophobic and Holocaust denier who praises Adolf Hitler, leading to a tense political debate with the liberal students.

The evening takes a turn for the worse when the veteran snaps and holds a knife to Marc's throat, threatening to kill him and rape Paulie.

After a long discussion, the students decide to follow up this event by inviting other conservatives for dinner to murder them, reasoning this would "make the world a better place".

Guests, all of whom are murdered, include a homophobic protestant reverend, a misogynistic, chauvinistic rape apologist; a Neo-Nazi; an anti-environmentalist; a racist, anti-Semitic Nation of Islam fundamentalist; an anti-abortion activist; a censorship advocate; a man who beats homeless people (the only dinner guest who momentarily considers recanting his beliefs); and critics of gay rights.

During a school break, Luke and Pete meet famous conservative pundit Norman Arbuthnot, a regular on TV news and talk shows, and invite him to dinner.

[9] The Last Supper soundtrack album was released on 2nd April 1996 and features artists such as KC & The Sunshine Band, Ten Years After, UB40, Sam Phillips, Los Lobos, Wild Colonials and The Toys.

The website's critics consensus reads, "It struggles to find a balance between its humor and its message, but The Last Supper's sharp script and well-chosen cast offer just enough nourishment for fans of black comedy.

He described the film as "a brave effort in a timid time, a Swiftian attempt to slap us all in the face and get us to admit that our own freedoms depend precisely on those of our neighbors, our opponents and, yes, our enemies.

[13] Janet Maslin, reviewing the film in The New York Times, was far more critical of the storyline, criticising it for its "lumbering obviousness and sophomoric political debate", and "conventional and unsurprising" plot.