Because too much is never enough! The complete cast and crew of Jackass 3D return with an all-new UNRATED movie. Loaded with OVER AN HOUR of outrageous bonus footage, get all of the ... See full summary »
A show that follows Bam Margera (of Jackass and CKY fame) in his attempts to anger his parents. Unlike CKY or Jackass, Viva La Bam focuses mainly on the torture of Bam's parents and less on harmful stunts.
'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 »
In the final 'explosive' scene, before the plunger is pushed, the corner of the room that Bam Margera is sitting in is relatively empty. However, when the Johnny Knoxville orders everyone to put on their goggles and proceeds to push the plunger, a bookcase appears in the corner. See more »
[during the Sweatsuit Cocktail bit]
Why Steve-O I believe this is the first cocktail you've had in two years.
Yeah. Here's to good health.
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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