|
As I sat watching Jackass 3D, a particular scene
had me really amazed. I found myself sitting among hundreds of people
watching a group of grown men watch a man fart. Sure, he had the unique
ability of farting on cue and could aim and blow a dart at a balloon,
which is pretty amusing in a twisted and perverse kind of way, but way
the Jackass crew were reacting to this particular stunt would make you
think that Charlie Chaplin had risen from the grave and was holding a
private show for the lads. It astounds me that in 2010, cinema audiences
will turn a blind eye to dozens of expertly crafted and highly engaging
films and instead flock en mass to see a bunch of grown men carrying out
juvenile and deadly stunts that will surely get one of them killed very
soon.
The Jackass boys take their antics to all new levels in
their third cinematic outing.
Jackass 3D
is the third installment in what I hope is a trilogy, inspired by the
popular MTV show of the same name. Basically, actor and ‘comedian’
Johnny Knoxville leads a rag-tag team of socially defective men (or
should I say boys?) who film themselves carrying out stunts with the
sole intention to shock. Usually these gags will involve bodily
excretions of some sort and the impact of a heavy object to someone’s
groin or head. The Poo Cocktail Supreme stands as the most disgusting of
these stunts – all I’ll say is that it involves a Port-a-Loo, a
sling-shot and Steve-O. Sweat Suit Cocktail and Toy Train Eruption are
two moments I’ll never forget. Let this be my warning to you – this film
is not for the faint-hearted.
How Johnny Knoxville is still alive and kicking is beyond me.
The truth of
the matter is, Jackass 3D made me laugh, cringe and curse,
essentially achieving all that it set out to achieve. While I wasn’t
exactly entertained, I felt myself glued to the screen, waiting to
witness how these morons would pull off something even more idiotic than
the previous stunt. Why the Jackass team felt it necessary to present
the film in 3D is a mystery to me. Apart from the odd airbourne dildo,
this gimmick is not used to the extent it could have been and much of
the film seems very flat. The opening and closing sequences are quite
impressive, using hyper-slow motion and a cacophony of colours and
explosions to temporarily give the illusion that this film has some
artistic merit.
There will
certainly be an audience for this film, which concerns me. My appeal to
you is this: before you hastily fork out $22 for this film, give some
consideration to the other more worthwhile films on offer. |
