A wry and intellectual romp through B-movie cliches -- without stinting on the gore and mayhem.
Office Killer (1998)
Tomatometer
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Reviews Counted:15
Fresh:2
Rotten:13
Average Rating:3.3/10
Runtime: 83 mins
Genre: Horror/Suspense
Synopsis: In this camp comedy thriller directed by artist/photographer Cindy Sherman, Dorine Douglas suffers depression when relegated to performing her job for Constant Consumer Magazine at-home. Not... In this camp comedy thriller directed by artist/photographer Cindy Sherman, Dorine Douglas suffers depression when relegated to performing her job for Constant Consumer Magazine at-home. Not knowing how to cope, after accidentally killing one of her coworkers, she finds the residual feelings very satisfying. Revived, Dorine continues to populate her new work environment with dead coworkers. [More]
Starring: Carol Kane, Molly Ringwald, Jeanne Tripplehorn, Barbara Sukowa
Starring: Carol Kane, Molly Ringwald, Jeanne Tripplehorn, Barbara Sukowa, Michael Imperioli, David Thornton, Alice Drummond, Florina Rodov
Director: Cindy Sherman
Director: Cindy Sherman
Producer: Tom Carouso, John Hart, Ted Hope, Pamela Koffler, James Schamus, Christine Vachon
Reviews for Office Killer
The measure of this film's failure is that when the nasty stuff happens, we don't laugh and we really don't care.
As lifeless as the corpses that pile up in mousy Carol Kane's basement.
Extra points for liberal use of chicken innards as wholesale gore. Minus points for not being funny enough.
No terror or suspense occupies this tired, gloomy vacuum, not to mention wit or humor.
Despite running only 81 minutes, Sherman's debut feels distended, perhaps because it flutters around from black comedy to Grand Guignol to character study, rarely touching down on any of the above.
It can't decide what it wants to be -- slasher fest, social satire or revenge comedy -- and ends up being an awkward goulash.
It's more disturbing than finding half a cockroach in a Fluffernutter sandwich.
The film opens with some intriguing and old-fashioned credits set to an ominous score. That’s the high point.
It doesn't offer a single moment of visceral or emotional electricity.
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