The acting is good, and the firecracker script has some excellent ideas.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

One of the worst ways to make a cult movie is to set out to make a cult movie.

The film never slows down or bores, plunging from one harrowing sequence to the next.

An all-female motorcycle gang, called 'The Maneaters' hold motorcycle races, as well as terrorize the residents of a small Florida town, and clash off against an all-male rival gang of hot-riders.I don't know whether it was the original camera used or the way the negative was preserved, this is one of of Lewis' best-looking films in terms of cinematography. To be fair, some (like "Gruesome Twosome") have completely deteriorated, but "She-Devils" shows that these movies may not be quite as bad as they're often made out to be.Already near the beginning, we know this is not going to be your usual "female biker" film (if there is such a thing). We have what can only be described as an "orgy" scene, where the women apparently keep a stable of men for pleasure purposes, no romance allowed. How a feminist would interpret this is beyond me -- empowering, or male wish fulfillment?

Not Your Average Female Motorcycle Club "Karen" (Christie Wagner) is an attractive young woman who lives with her mother and had, until recently, been dating a boyfriend named "Ted" (Rodney Bedell). Although her mother believes that when Karen leaves the house she is simply having a good time with her friends the reality is that she belongs to an all-female motorcycle club known as "the Man-Eaters" and they are anything but innocent. Quite the opposite as not only does this particular motorcycle club engage in racing against one another but they are also involved in violence and weekly orgies with any man that strikes their fancy. So much so that the local police have taken a special interest in them-as has another group of men who nurse a special vendetta all their own. Now rather than reveal any more I will just say that this was a low-budget production with bad acting and a totally unrealistic plot. Yet in spite of all of that it was still somewhat interesting and managed to keep my attention for the most part due to the fact that it was so unique even for the particular time it was produced. That's not to say that this was a good movie by any means but I liked it to a certain degree and because of that I have given it the benefit of the doubt and rated it as just slightly below average.

Classic she-exploitation. What can I say about a film where girls lick blood off each other and kiss as initiation rites into a biker cult? Men are beaten, dragged behind bikes, f*#$ed, and decapitated. Good acting from a few of the leads. Terrible script with no story provides opportunities for humor and visceral violence. No nudity.Not as gory as other Lewis films, but more fun than most.

***SPOILERS*** ***SPOILERS*** Ahh...It would be no exagerration to liken "She Devils On Wheels", an epic HG Lewis tragedy, to the writings of Shakespeare. It is quite possibly the "Godfather of Gore"'s masterpiece, his "Hamlet" and his "Romeo and Juliet" in one.The plot revolves around the Maneaters, a gang of motorcycle riding women, bent on smashing their gender roles, treating their menfolk like slaves and riding hard on 'the strip' (they may ride hard but certainly not fast... the girls' bikes move at a leaden, snail-like pace - no doubt a sly metaphor to represent that although the girls may appear to be riding fast, their lives are, essentially, going nowhere). There are many deep-running conflicts within the Maneaters, too complicated to go into here in full detail, but most notably the feud between leader Queenie and fairly recent member Karen is the one that creates the most tension. It's obvious that Queenie is jealous of the younger, more glamorous Karen and when Karen keeps winning the Maneaters' races, Queenie decides to put her in her place with a scene easily as devastatingly powerful as anything from Shakespeare's "Titus Andronicus". Karen, it seems, has fallen in love with one of the 'Studs' (a group of highly inbred-looking 'men' that the Maneaters keep at their shack as sex slaves) and when Queenie finds out, she ties him to the back of Karen's bike and issues the ultimatum - either Karen rides across the strip with her lover tied to the back of her hog, or Queenie rides across the strip with Karen in tow! As the bewildered Karen drives across the strip, her lover turning to a bloodied pulp in gruelling detail, I swear there isn't a dry eye in the house. It tugs at the heartstrings, readers, let me tell you that... Christ, I'm choking up just writing about it.As the plot unfolds from this pivotal scene, a rival gang, led by the evil misogynist Joe-Boy, get into a fierce argument with the Maneaters over who owns 'the strip' which escalates into a war of violence, betrayal and eventually, murder in clearly a homage to Shakespeare's Montague/Capulet feud. What makes it more complicated is that one of the male gang's brothers is Karen's ex-boyfriend who still holds a flame for her and is heartbroken to see her throw her life away with the Maneaters. As I say, we're talking a seriously tangled web of complexed, strong emotions here - the parallel to the Bard's work is especially hammered home as a variety of scenes are delivered using poetry and verse. Whilst Shakespeare will be forever renowned for his masterly sonnets, Lewis prefers to use the more unorthodox, less highly rated poetic technique - the limerick. Witness one Maneater recount a slightly modified version of a classic, as Lewis pays tribute to great limericks of a forgotten age - "There was a young girl from Calcutta / Who covered her (cough cough) in butter / She thought it too greasy / But it slipped in easy / It's a trick that she learnt from her mutha"... ahh, the greats.Despite being rife with stark imagery (who can forget the sight of the seemingly endless footage of the girls "trippin'" down a single carriageway at 30mph in a zone clearly marked 55mph?) and clever, sharp dialogue ("We ain't no daisy pickin' broads, we're the Maneaters!"), Lewis' film is ultimately nihilistc, carrying a very dark tone as it explores the fractured psyches of its tortured lead characters. It touches on the emptiness of sexual relations; a recurring theme enforced by the clever directorial trick that no-one even gets into any state of real undress, let alone actually has sex, despite constantly talking about it. Again, it reinforces the point that the shallow goals which drive the main characters to their actions will essentially be disappointing and leave them with nothing - the sheer futility of it all is presented as bleakly as possible with the stunningly grim finale - a horrific centrepiece in the form of a surprise decapitation followed by an ambiguous 'ending' which makes us ask the question: "WHY!?" WHY, DAMNIT, WHY!? There is no triumph of good or evil; no heroes in this film... Two of the girls return, post-credits, with what may well be the answer, in the form of a limerick, naturally. Truly one of the great classics of 20th century cinema, "She Devils on Wheels" holds its own easily against the works of Kurosawa, Godard and Bergman.