Some people would say that a movie that makes you feel dirty and disgusting is an effective movie. That may be true, because William Friedkin’s NC-17 “Killer Joe” made me want to take a shower as soon as I got home from the theater. But just because the presentation of abhorrent material was equally abhorrent does not make the movie good, or enjoyable.
While I’ve started to reverse my thinking on Terrence Malick’s “The Tree of Life,” my original assessment seems to be applicable for Friedkin’s film. I used such phrases as “the whole was less than the sum of its parts” and “While I can see the art […] I can’t see the clear execution of a vision.” Other than the movie’s two shocking displays of perverse sexual behavior (which you don’t deserve to have spoiled for you in case you actually decide to watch “Killer Joe”), the film brings little else to the table.
The other hour and a half of the film is just filler to bring about the two discussion-worthy scenes. I acknowledge that a movie that tries and succeeds to be shocking is an accomplishment. But being shocking just for the sake of being shocking is nothing to be lauded.
A movie that exists solely to ruffle a few feathers and rattle a few cages doesn’t stick with you after the writhing and squirming in your seat. The sordidness is ephemeral; it wears off quickly. And once that feeling is gone, you look to see if it was justified or vindicated by the rest of the film. Here, it is not.
The Tracy Letts’ screenplay is clunky and feel very stagey and distinctly non-cinematic. The humor, dark and macabre, is extremely hit or miss; all the laughs come with a heaping side order of guilt. I will give “Killer Joe” that it has two solid performances: a demonic leading turn from Matthew McConaughey in the year of his career renaissance as a sexually depraved hitman, and a delightful village idiot character played with an appropriate lack of urgency by Thomas Haden Church. But that’s where my compliments come to a close because this movie isn’t about those things. It’s about being knowingly repulsive for no other reason because they can be, indulgent art at its worst. D+ / 
Marshall and the Movies 
The film does sort of fall-asleep at times with all of it’s talking, but is still a very tense flick, mainly because of its well-acted ensemble. Especially McConaughey, who seems to be having an awesome year so far being himself, except with a darker side to him than we’re used to seeing. Good review Marshall.
At last a review that tells it like it really is! I saw this in DVD an sought out the reviews afterwards. In an hour of searching thus is the first review that gives truly reflective analysis of the film based on it, not based on some form of semi homage to the director and main actor. For me the mist believable character was Ansel played very well by Mr Hayden Church. As well, the incidental scene of the confrontation between Mr Hirsch and the Drug dealer he owes money too though played out a million times before in other films, was executed brilliantly.