[3] Accident-prone sports news photographer Cory (Jim Henshaw) carries a torch for his best friend's wife Linda (Susan Hogan).

[3][4] Before the film began shooting, Allan Eastman described it as "a comedy of sexual values and identities" and "a study of a Toronto subculture".

"[3] Several years after its release, the film was described as a parody of "the great Canadian loser", an "angst-ridden boy drinking himself to death, isolated against the wilderness.

[4] Fresh from graduating from the University of Bristol Film School in 1975,[2] Eastman was strongly influenced by the French New Wave, not realizing, he said in 1985, that "they'd stolen their best ideas from the great American directors".

[7][10] After an article that implied that Kramreither had creative input into the film was published in Cinema Canada,[8] Eastman wrote a letter to the editor disputing its accuracy:Tony is my friend and a sweetheart but does have a tendency to take credit where it is not due... Tony had no creative involvement in the picture from start to finish and, indeed, only showed up on the set when we were shooting a nude scene (being basically a dirty young man)...

Unlike her past typecasting as the frigid teenage tease, she finds things in this character that aren't in the script, and it's one of the few times we can see a contemporary young woman on the screen, especially considering the void that now exists in roles for women.

She allows the script to overwhelm her at points too much relish in her dirty lines that are grafted onto the dialogue, and tossing away a term such as "meaningful relationship" by laughing at its wrenching commonness as she proclaims it in her character - but in her crucial moments she's completely believable, and carries her low comedy scenes with great timing.

[3]Chesley was less impressed with the "far from full" characters themselves, faulting the script's tendency toward self-indulgence, low comedy, and extraneous scenes, speculating that Henshaw and Eastman were "too far removed" from the "type" of individual they were portraying in the film to do so "with any credibility", but elsewhere, the satire "works exceptionally well", as with the Canada Manpower scenes: "Henshaw's character would get into such a situation and act in the situation in just the way he does, and at the same time the whole experience, to everyone who's been through it, is a highly effective comedic extension of the horror of the real thing.