Nudity, Nonsense, and No Regrets

Read Time:5 Minute, 48 Second

MOVIE REVIEW
Nudie Cutie Triple Feature!
Mr. Peters' Pets
Everybody Loves It
50,000 B.C. (Before Clothing)

Genre: Comedy, Fantasy, Nudie Cutie
Year Released: 1962-1964, Kino Cult Blu-ray 2025
Runtime: 1h 10m / 1h 8m / 1h 15m
Director(s): Peter Perry Jr. / Phillip Mark / Warner Rose
Writer(s): Various
Cast: Alfred Hopson, Denise Daniels, Jack Little, Lou Epton, Charlie Robinson / Charlie Robinson, Hedi Leonore, Mila Milo, Eddie Carmel, “The Cavegirls”
Where to Watch: available July 22, 2025, pre-order your copy here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: Kino Cult has built its brand on the bold, the bizarre, and the borderline unclassifiable—and this triple-feature release is exactly the kind of glorious nonsense I admire them for rescuing. While other labels cling to prestige and polish, Kino Cult barrels headfirst into the dregs of forgotten exploitation, unearthing artifacts that are so unapologetically weird they can’t help but earn a special place in the hearts of the curious. With MR. PETERS' PETS, EVERYBODY LOVES IT, and 50,000 B.C. (BEFORE CLOTHING), Kino offers not just a glimpse into a defunct genre but a full-blown showcase of the absurdity that defined a very particular—and very naked—slice of 1960s cinema. This is less about titillation and more about tone-deaf time capsules. And that’s exactly the appeal.

Of the three, MR. PETERS' PETS is the headliner—and boy, is it something. Directed by Peter Perry Jr., the film follows a bumbling pet shop owner (played by Alfred Hopson with the energy of a bewildered math teacher at a burlesque show) who uses an unexplained transformation device to turn into various animals and sneak into women's bedrooms. No, there is no logic. Yes, it's played as comedy. And absolutely, it will leave you speechless more than once.

The “Nudie Cutie” genre was never about coherent plots, and this one doubles down on that ethos. Instead of a story, it’s a sequence of barely strung-together gags, often relying on the thinnest justification to get a woman undressed. But there’s an odd innocence to it all, as if the film doesn’t even realize what it’s trying to do. Hopson’s performance is so awkwardly out of place that it adds a strange kind of charm. There’s nothing remotely erotic about it—but maybe that’s the point. It plays more like a Benny Hill sketch stretched to an hour and change, then dipped in low-budget surrealism.

It’s bad. Gloriously, unapologetically bad. But thanks to Kino’s restoration and the thoughtful commentary by exploitation historian Eric Schaefer, it becomes an artifact worth examining instead of discarding.

The second film in the set, EVERYBODY LOVES IT, shifts gears but maintains the same off-kilter sensibility. This is a parody of television culture narrated by a four-leaf clover (yes, really). It’s what would happen if someone gave a Super 8 camera and zero oversight to a bunch of guys who just finished watching Laugh-In and thought, “We could do that… but worse.”

The humor is juvenile, the editing is chaotic, and the pacing is as erratic as the film’s narration. But there’s something deeply hypnotic about its energy. There’s no pretense here—it’s a series of sketches that make you question whether they’re even meant to be funny, or if the joke is on you for watching them. Think of it as a curiosity, the kind of thing you show to friends late at night just to watch their expressions change from amusement to confusion to existential dread. Yet even this has a strange value. As a time capsule, it speaks volumes about where media satire was heading (or not heading) in the pre-SNL era.

Rounding out the set is 50,000 B.C. (BEFORE CLOTHING), The most conceptually promising of the bunch. It flirts with sci-fi, with its premise of time travel, but lands squarely in the same “Nudie Cutie” arena. A modern man ends up in prehistoric times, surrounded by scantily clad cavewomen and slapstick scenarios that feel lifted from a rejected Flintstones spec script.

What saves this one is its unrelenting commitment to the bit. The costumes are hilariously bad—more party-store than paleo—and the jokes are telegraphed from a mile away. However, compared to the other two films, there’s a certain structure here that helps it go down more smoothly. At the very least, it pretends to care about cohesion.

Separately, these films barely function as cohesive stories. But together, they form a kind of exploitation triptych—each piece a different angle on the same bizarre desire to fuse comedy, nudity, and absurdity. What Kino Cult understands, and what I continue to admire them for, is that preservation is about more than saving “great” films. It’s about documenting cinematic subcultures that might otherwise disappear.

This isn’t high art. But that’s precisely what makes the set feel so vital. These movies embody an era when censorship was crumbling and independent filmmakers were scrambling to fill the void, with nudity, absurdity, and limited budgets. The fact that Kino Cult not only releases these kinds of titles but presents them with care (restorations, commentary, original trailers, and even a booklet with essays) speaks to their commitment to treating all cinema—no matter how trashy—with the dignity of documentation. In short, this set is pure madness, and Kino Cult is brave enough to make sure it lives on.

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[photo courtesy of KINO CULT, KINO LORBER]

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