One reviewer wrote it's difficult to explain black comedy. Well, has that reviewer or any other viewer considered the irony underlying the story's series of events from which rises its humor? Comedy of this movie is rooted in the irony of the predicament and how the characters respond to that predicament. Hilarious moments occur many times in this movie.
Directed by Scott Foley is better known for his acting in TV shows, The Unit and Scandal. Let’s Kill Ward’s Wife comically portrays how a group of four friends, suburban professionals, conspire to get away with murder. The event of the killing itself is incidental, not premeditated. Or is it?
A premise such as this is the set-up in which the comedic action takes place. Besides this movie being a comedy, it is also a buddy movie. Through the situation brought on by the murder of Amanda, Ward’s wife, the story demonstrates an examination of how this specific murder affects the relationships between the four guys. How the situation of the murder is set up makes it so even wives of two characters, Tom and David, become quickly involved. Even the wives are neither horrified by what has transpired nor unwilling to participate in events connected to the murder's cover-up.
As a group there is very little remorse demonstrated by anyone. Instead the group’s behavior would be better fitting in the event of their killing, feather plucking, and then carving up a fresh chicken. It’s the group’s displayed nonchalance in this ghastly situation that makes this film humorous.
As said, shocking series of appalling events connected with the murder and its cover-up fail to elicit any semblance of horror in or among the characters except in one character, Ronnie. His sense of remorse occurs in sharp contrast to each character's matter of fact sense of banality about the murder.
That demonstrated effect of banality in the outrageous context of the murder and its cover-up is at the root of what makes this film a comedy. Perhaps that is the intent of the screenwriter, to dramatize another aspect of the banality of evil. Such banality ironically invites the viewer to identify with the characters.