The crew have now set off to finish what as left over from Jackass 2.0, and in this version they have Wee Man use a 'pee' gun on themselves, having a mini motor bike fracas in the grocery ... See full summary »
The story of how an eccentric French shop keeper and amateur film maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner. The film contains... See full summary »
Outrageous skate video introduced the world to Bam Margera, the insane, parent hassling daredevil that would gain fame for risking life and limb on MTV's Jackass series. Includes a very ... See full summary »
Jack Rebney is the most famous man you've never heard of - after cursing his way through a Winnebago sales video, Rebney's outrageously funny outtakes became an underground sensation and ... See full summary »
'Jackass 3D' opens with the entire cast all lined up, each wearing a different color of the rainbow, in front of a rainbow colored background, each in turn being attacked in various ways. Some of the footage is slowed down for maximal effect. This is repeated again at the end of the movie with additional explosions mixed in with gallons of water to wash away the cast- chaos is resumed. Throughout the movie the team are subjected to the usual foray of physical abuse from team members or perform hilarious stunts (including some of the more stomach turning stunts such as the Sweat suit cocktail, Toy Train Eruption and Poo Cocktail Supreme - not for the weak stomached!). Written by
The Lamborghini Tooth Pull sequence was originally shot for Jackass Number Two (2006), with Vincent Margera getting his tooth pulled. A shot of it was featured in the original trailer, but was pulled from the final release due to Margera's 2006 sexual assault arrest. This time around, it was Ehren McGhehey getting his tooth pulled. See more »
Right at the end of the film, when Rip Taylor is throwing ticker tape down on the boys, Rip is shown to be wearing nothing on his head. Then, when the camera angle changes and pans back to Rip, he is wearing a hat complete with horns. See more »
[after getting hit by a buffalo]
It felt like shit! It felt like I just got run over by a buffalo!
See more »
In 1928, Charlie Chaplin wowed audiences by appearing on screen with a real, live lion for his celebrated film The Circus. A lion! Real! On screen! Audiences were mesmerized by this fascinating new art of cinema, an art made all the more engaging for the fact that the plastics of its image had roots in reality; that somewhere else in space and time, Chaplin had actually stood next to this lion and the reality of this image was now available to them for their own viewing pleasure.
For a contemporary equivalent, I give you Steve-O launched through the stratosphere in a PortaPotty full of dog poop. In 3D.
Jackass 3D appeals to cinema's time-honored capacity for ontological testament, and makes an equally compelling case for the camera's potency as an empathy machine: We see the setup of a stunt, we endure its execution, and we then either clutch our balls or puke in our mouths, depending on what the stunt entails. Cinema is reality, and their pain is ours.
Jackass isn't simply effective in the art of its performers, however, as there is a genius to the framing and editing of each segment as well. Many of the film's laughs are built in to its premises, and the crew smartly eschews over-explanation. We see a tee ball, we see the path this ball is on track to take, and we see Steve-O's nuts--as an intelligent and discerning audience, it is left to us to piece together the narrative before it unfolds, resulting in our increased engagement and a far greater potential for humor upon realization. And we then hang in that moment of anticipation, until the situation's potential energy is quickly and cathartically rendered kinetic.
Jackass 3D is notable as well for its use of stereoscopic 3D cinematography. In one scene, Johnny Knoxville fires a projectile toward the screen in slow motion to great effect: shallow depth of field slowly reveals this item to be a dildo, and 3D reveals the dildo to be humorously close to your face. Elsewhere, stereoscopy is employed in the service of some truly excellent model work; the scene's genuine beauty makes its ultimate subversion all the more effective.
Needless to say, Jackass 3D will not appeal to everyone. But as the film so effectively marries the ontology of outrageous stupidity to so many facets of cinematic expression, it's definitely worth seeing if you think you can stomach it. TK 10/17/10
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