“Satisfaction” ranks high up on the list of things a good thriller should provide, coming right after “thrills” and in the case of a horror film, hair-raising shocks and jolts.

Most horror movies adhere to a formula, so if you’re doing another version of “They’re picked off, one by one,” making the finale payoff with a surprise or two, a jolt and victims who fight back in the most satisfying ways is a must.

“The Conference” (“Konferensen”) is a Swedish bureaucritic-retreat-gone-wrong comic thriller. The “comic” side of things is a bit thin, as we see victims — the just and the unjust — meet their end in the usual (machete impaling, hanging by a flagpole or meat hook) horrific ways.

But by the time we’ve started to identify with this stressed, wronged public employee, that office pushover or this or that elderly cubicle drone, things get righteously violent in ways that satisfy even as the body count rises.

Tiny Kolarsjön, Sweden (It’s a real place. Ok, it’s actually a lake.) is about to break ground on a desperately-needed shopping mall, so its planning office is in a celebratory mood.

Boss Ingela (Maria Sid) has fudged the budget for them to take a celebratory “team building” trek to a rural resort, where team leader Jonas (Adam Lundgren) can do a victory lap with his lapdog/hype man Kaj (Christopher Nordenrot) there to prod everybody else into praising Jonas to the heavens.

But Lina (Katia Winter of TV’s “The Boys and “Dexter”), just back from a mental health leave of absence, isn’t in a celebrating mood. Others on their eight person staff have their doubts about this project — with a farmer they forced to sell, a developer’s sweetheart deal and the mall’s promised IKEA.

Even in Sweden they’re a little leery of IKEA.

“It takes money to make money,” Jonas chirps, breaking into English (the film is mostly in Swedish or dubbed if you prefer). “Dream work makes the TEAM work” is another American English bit of human resources-motivationspeak that bubbles into the conversation.

They’re just settling in to the resort where Jenny (Lola Zackow) presides over a tiny staff and sporty Cleo (Marie Agerhäll) will lead the “team building” exercises when things start to go wrong — the cook and others start disappearing.

A local mascot costume Jonas trots out falls into the wrong hands. And yes, the planners themselves join the ranks of the picked-off by a mascot-headed murderer.

An interesting choice in this Patrik Englund adaptation of a Mats Strandberg novel is having the women fight back with vigor, as if it’s their instinct to be on guard all the time against someone meaning them harm. The men? Not so much.

The characters are basically “types,” with Ingela being the boss who doesn’t want anybody questioning anything, accusing the newcomer Nadja (Bahar Pars) of sounding like “the Nuremberg Trials” for demanding details.

Jonas is the BS artist convincing everybody and the town they live in to give in to his bums rush about his Big Deal.

Torbjörn (Claes Hartelius) is the old guy who says “In MY day” more than once, in Swedish.

And Lina is the doubter who starts to see the big picture, if she can just survive long enough to put it all together.

Meanwhile, an unseen nut is hacking, stabbing and outboard motoring the planners to death.

The performances are adequate for the formulaic material, and the killings not as perfunctory as they might have been with victims frantically fighting back and learning about “teamwork” the hard way.

That makes for a Swedish thriller that picks off its characters, “Scream” or “Ten Little Indians” style, but satisfies us along the way, especially in the bang-up bloody finale.

Rating: TV-MA, graphic bloody violence, nudity, profanity

Cast: Katia Winter, Adam Lundgren, Christoffer Nordenrot, Maria Sid, Eva Melander, Amed Bozan, Cecilia Nilsson, Bahar Pars, Claes Hartelius and Lola Zackow.

Credits: Directed by Patrik Englund, scripted by Thomas Moldestad and Patrik Eklund, based on a novel by Mats Strandberg. A Netflix release.

Running time: 1:40