After a devastating nuclear war most of the land has become contaminated by radioactive fallout. Only several scattered patches of land known as "survival zones" remain untainted. Rugged, hard-working farmer Ben Faber (forcefully essayed by dour, husky, pudgy-faced "2001: A Space Odysey" star Gary Lockwood) resides on one such area with his gutsy wife Lucy (lovely Camilla Spav), willful teenage daughter Rachel (comely brunette knockout Zoli Marki), adoring son, and feisty old buddy Uncle Luke. The Faber's peaceful existence gets jeopardized when a vicious horde of scummy, black leather-clad cannibalistic bikers led by the highly intimidating and intelligent Bigman (coolly underplayed by big, brawny, hirsute George Eastman lookalike Ian Steadman) stop by and lay siege to their house. Fortunately, nice guy itinerant loner Adam Strong (a likable turn by handsome, muscular Morgan Stevens) comes to the Fabers' aid.<br /><br />The shopworn premise, basically just another rough'n'tumble post-nuke survivalist take on a classic Western movie scenario (the Fabers are clearly patterned after early settlers, with Strong as a heroic roving troubleshooter type and the bikers substituting for marauding Native Americans), doesn't promise much, but luckily the uniformly sound performances, unusually complex, well-drawn and even plausibly human characters, a welcome element of genuine humanity, Percival Rubens and Eric Brown's smart, surprisingly thoughtful and introspective script, a few unsettling oddball touches (Bigman has a severed doll's head affixed to the top of his motorcycle helmet), Rubens' capable direction, a sturdy theme which addresses how a man ought to fight for what's his and stand up for what he believes in (Ben refuses just to let the bikers destroy his farm without putting up a fight), an unsparingly harsh and savage tone (early in the picture the bikers raid a missionary and murder a bunch of nuns!), and shocking outbursts of raw, brutal violence lift this one well out of the rut. Vincent Cox and Colin Taylor's spare, stripped-down cinematography, shot on gritty film stock, gives the film a convincingly scrappy look. Only the somewhat sluggish pace and Nic Labuschagne's slushy, obtrusively overwrought score detract from this otherwise satisfyingly tense and gripping winner.