Office Killer (released on December 3, 1997) descends into the bizarre, grotesque world of corporate downsizing with subversively dark humor and striking artistic flair. Directed by famed fine-art photographer Cindy Sherman in her feature film debut, the satirical horror-comedy follows Dorine Douglas (Carol Kane), a meek, heavily bullied copy editor for a glossy magazine called Constant Consumer.
Suffering from childhood trauma and living with her invalid mother, Dorine finds her fragile reality shattered when corporate restructuring forces her into part-time freelance status from home.
When Dorine is called in to the office for late-night technical help, a freak accident leads to Gary Michaels’ (David Thornton) electrocution.
Rather than calling the authorities, a panicked Dorine hauls his corpse home to her basement, discovering a disturbing sense of empowerment in controlling her tormentor.
Realizing that dead coworkers make far better companions than living ones, Dorine embarks on a quiet, bloody murder spree aimed at the obnoxious staff members who mistreated her.
Her targets quickly stack up, including snobbish editor Virginia (Barbara Sukowa) and slacker coworker Daniel (Michael Imperioli), whose decomposing bodies she meticulously arranges in her cellar to form a macabre surrogate family.
Meanwhile, ambitious magazine staffers Kim Poole (Molly Ringwald) and Norah Reed (Jeanne Tripplehorn) begin noticing the sudden, suspicious disappearances of their colleagues.
As Kim investigates the trail of strange emails sent from the missing workers’ accounts, she stumbles closer to the terrifying truth hidden beneath Dorine’s timid exterior.
The escalating body count leads to a tense, violent confrontation in the magazine’s offices, forcing the remaining staff to face the deadly wrath of the ultimate disrespected employee.
Molly Ringwald in Office Killer (Photo/Strand Releasing)
Reception for Office Killer
Office Killer grossed $76,054 in its theatrical run.
Legacy
Office Killer‘s legacy is that of a fascinating, celebrated cult artifact of late-1990s indie cinema, widely appreciated for merging fine-art visual sensibilities with campy slasher tropes.
Kane delivered an unforgettable, magnificently unhinged lead performance that anchored the picture, brilliantly supported by a stacked ensemble cast.
Sherman brought her signature surrealist eye to the set design and lighting, crafting a vivid critique of corporate dehumanization and feminist rage.
Office Killer remains a unique, highly stylish time capsule of 1990s dark comedy.
