The office politics themes and serial killer plot may be uninspiring, but Office Killer’s overall craft is very enjoyable. Though it doesn’t noticeably echo the self-portraiture Cindy Sherman is best known for, the cinematography is deliciously and unselfconsciously skewed, which, in tandem with the chamber ensemble score, lends it a peculiar elegance. The whole thing is pretty firmly dated by its pre-Y2K anxiety and the ostentatious graphic design of its titles (courtesy of Bureau), but I found that to be more of a blessing than a curse. It’s an odd little time capsule. And of course, watching Carol Kane swing for the fences with an utterly batshit lead performance is a real delight.