There’s
no good reason for sci-fi thriller Ravagers
to be as dull as it is. Even setting aside the lively cast—more on that in a
minute—the picture features a serviceable postapocalyptic storyline, in which
gangs of violent people called ravagers prey on settlements of vulnerable
people to steal food and other supplies. The underlying premise holds that
something poisoned the world’s water, making it nearly impossible to grow new
food, so everyone still alive competes for resources. Though hardly new,
shouldn’t these concepts be enough for a passable mixture of pulpy adventure
and social commentary? Before you answer that question, let’s get back to the
cast: Ravagers stars Richard Harris,
and supporting him in much smaller roles are Ernest Borgnine, Art Carney,
Seymour Cassel, Anthony James, and Woody Strode. That lineup explains why Ravagers isn’t a total waste of time,
even though the actors are squandered as badly as the potential of the
storyline.
Set in the near future, Ravagers
begins with Falk (Harris) bringing precious food back to his companion, Miriam
(Alana Hamilton), who dreams of someday finding a place called Genesis, where
food is rumored to grow. Alas, ravagers led by a vile leader (Anthony James)
followed Falk to his hiding place, so they rape and murder Miriam, leaving Falk
for dead. He survives and exacts some revenge, then flees into the countryside
with the ravagers in pursuit. Falk meets assorted benevolent people until
stumbling across an installation supervised by Rann (Borgnine), who clashes
with Falk over strategies for holding the outside world at bay.
Some of the film’s
episodes are more interesting than others, but the pacing is glacial and the
movie is nearly over before Rann appears. Yet the shape of the narrative isn’t
the worst problem plaguing Ravagers.
In nearly every scene, actors stand still with their faces blank, as if they’re
waiting for director Richard Compton to give them something to do or say. The
movie’s script is so enervated that character development is nonexistent, with
people defined by their situations instead of their personalities. This sort of
one-dimensional approach can work in fast-paced movies, but it’s deadly for
slow-paced movies like Ravagers.
Adding to the onscreen lethargy are vapid turns by Stewart and nominal leading
lady Ann Turkel. Ravagers is more or
less coherent, but as goes Harris’
performance—a wispy suggestion of what he might have done with a proper
screenplay—so goes the whole disappointing picture.
Ravagers: FUNKY