This film gives us insight into the banality of banality and would have us believe that murderous cults are a bad thing. Zap Rowsdower is a guy who was in a cult, then he either dropped out or got kicked out - hang on, I gotta go check with Paul Chaplin about the plot of this film. Sorry, I'm back, he didn't know much about this movie either. Anyway, Zap Rowsdower befriends Troy, whose father was killed by Zap when Zap was in the cult. Zap took a leave of absence from the cult and does battle with the boss of the cult because the boss wants Zap back in the cult. Just a sec, I'm gonna go check with Mike Nelson, ask him if he remembers anything about this film... thanks for waiting - Mike was not sure but was mostly upset about how women were portrayed in the film. Troy is understandably miffed when he learns that Zap is the guy who is responsible for his father's death. But Zap has turned out to be a good friend, albeit with hockey hair, so what is Troy to do? Somehow at the end, the two become fast friends.

The film was made in Canada, which explains a lot. Just between you and me and the wall, I think a major error was made in their film archetype-ology. Zap was clearly supposed to be the intermediary guy; the hard-drinking, tough-but-lovable, car-won't-start sidekick to the hero.

However, we were short one hero, and its not till the end of the movie that you realize that Troy and Zap's journey isn't to bring Troy to the hero (to whom Zap should be the sidekick), but in fact, Zap is the hero. Excuse me... sorry... can I just squeeze by you... watch your pop...