‘Jackass Forever’ Official Trailer and Movie Review: Johnny Knoxville’s ball-busting carnival is better and more beautiful than eve
The delightful fourth film in the death-defying franchise, which continues to find the sweet spot between “Magic Mike XXL” and “Sallow, The 120 Days of Sodom,” Jeff Tremaine’s “Jackass Forever” opens with a sequence that’s accurate. Definitely sets the tone. Motion picture magic is about to come. With all of the sketches that compose this plotless clip reel of spectacular American folly, you know something is about to go wrong and/or down into the unfathomably painful “Godzilla” parody that kicks things off — for a long time. “Jackass” fans might even be able to guess what it’ll be like — but it still hits with a childish wave of wonder and disgust when you watch it. It’s no wonder that the movie’s biggest laugh comes when someone reacts wholeheartedly, yelling at the wildly elaborate prank, “I knew this was going to happen!”
In this case, the lie is that the kaiju terrorizing New York City is actually the loose gender of Chris Pontius (portrayed with the hare and a puppet with the on-screen help of “Being John Malkovich” director Spike Jonze), and the monster. His feet are played by his wrinkly balls, which groaned in response to miniature rockets fired at him by ringleader Johnny Knoxville and other cast members. This won’t be the strangest torture Pontius’ junk was inflicted on him during the film—a movie in which it’s actually Steve-O who is the worst victim of genital hijinks, thanks to a stunt I described as “Candyman Dick” in my notes. as remembered – but it conjectures a work of art in which old friends and swine ejaculate side-by-side with old friends and shock. Sometimes there’s so much beauty in the world that I feel like I can’t take it.
For those of you ignorant of American history or otherwise living with your ass to your head (a feat of self-insult that would earn anyone a spot in Tremaine’s cast), “Jackass Forever” (2010) For the first time since Knoxville Family Circus has brought their funny, violent brand of “Don’t Try This At Home” to the big screen. For us in the audience, that “bringing the gang back together again” vibe is so visceral that even newbies to “Jackass” can feel the warmth of catching up with old friends. And while his antics are still as fresh as they were on MTV in the early 2000s—yet capable of triggering the same deep degree of pure lizard-braining, Santa Claus is real and he looks like a post-Logan Paul era. In the days before Knoxville stunts gave birth to YouTube – those dudes have definitely gotten old. “Jack’s Forever” isn’t in denial about it, but the beauty of this skate-or-die geek show is that Tremaine also refuses to let the age stigma of eternal boyhood be the brand’s core essence; Everyone’s got old (and former “Jackass” mainstay Ryan Dunn has died), but no one has gotten older. Knoxville’s hair is often seen in its natural silver, but his Tyler Durden abs are still tight enough that he still needs prosthetics to disguise himself as Bad Grandpa. Steve-O’s grimly speaking voice is now filled with that of Nick Nolte, but when he screams it still sounds the same because someone dropped a skateboard guillotine on his shin. If Pontius is the Paul Rudd of the group, he delights in the idea that his balls might hang a little higher than before – just imagine the possibilities!
Here, in a film that is literally a documentary of its own making, age is nothing less than a shocker than a sweetener. Tremaine doesn’t shy away from the added wrinkle of comic sadism that comes from watching 50-year-old men get electrocuted while they dance in top hats and tails, but he doesn’t treat “Jackass Forever” the same way. The reverence that makes every streaming reboot or sequel series feel like the wax version of something we used to love. The film is completely at peace with being “jackass” as a whole, and it feels like its grand finale—a simple milk vomit stunt that develops into a pyrotechnic act—doesn’t feel like a goodbye.
In contrast, “Jackass Forever” is more interested in saying hello, as Tremaine allows the natural flow of new blood without ever endangering the body of its work. However, the bodies of newcomers are regularly subject to extreme danger. Giants like Danger Ehren (the victim of a stunt that PETA has already emailed critics about) and Dave England may suffer the worst of it all – and, as part of a tradition that seeks to balance the group’s power, For what seems necessary, it’s Knoxville that ultimately comes closest to death—but baddies like Zach Holmes and Sean “Poppies” McInerney get blurred out in all sorts of horrifying ways. Each is ashamed in his own way; The fatness of the former is often used as a spectacle, while the beta male versatility of the latter makes him the perfect target for many of Knoxville’s pranks. Yes, everyone seems happy to be there, but watching a guy named “Poppies” slamming madly with motorized slippers while his friends laugh hysterically from the comfort of a nearby couch is something that will make you laugh. Wonders if people accept only the love they think they deserve.
But “Jackass” has never been about making anyone comfortable, and that’s not going to change now — not when the complete lack of censorship has become the franchise’s biggest advantage over the legacy of imitators on TikTok. More to the point, “Jackass” has only endured through four presidential administrations because it clearly prioritizes acceptance over brutality. You always hurt the one you love, so why not take the time of your life in the process of doing so?
These maniacs may never feel physically safe around each other, but the sentient man-children that characterized a generation of Judd Apatow comedies would kill for (pigs), because you’d think It is believed that the Knoxville gang treats its members as a blood ritual. The sense of belonging is shared between new and old artists alike, but is perhaps best embodied by the oldest new cast of all, an arachnophobic ex-elect named “Dark Shark” (Rapper of Weird Future and ” Jackass” first-timer (Jasper Dolphin) who gets caught up in a painful spider hunt before slowly becoming part of the crew.
The only rookie who fails to make much of an impression is Rachel Wolfson, who breaks the glass ceiling as first lady Jackass (and then effectively tongue-kissed the toothy shark). He’s a fearless performer who fits right into the group, but Knoxville and Tremaine are stunned by the way he uses someone who doesn’t have a scrotum to destroy, and a major bit of Wolfson in a play-out. Gag who relies on cheap plastic surgery jokes. “Jackass” has been seen as a protest against the numbness of capitalism of late—as a way of plucking the joy bone from the anhedonia of America’s suburban sprawl—but it also stems from a “fight club” moment when young The men were looking to destroy the world in a way that would bring them closer to each other. If “Jackass” was a product of his time, then “Jackass Forever” is also “Jackass” a product of time. That’s what’s sweet about it, and it’s also what prevents Treiman from achieving that kind of galaxy brain, “Fury Road”—a reinvention of the franchise that solicits its brilliance.
Despite its newfound failures and familiar assortment of dud stunts (launching V-Man onto a pile of metal is a pretty lame payoff for that musical chair gag), “Jackass Forever” is essentially longer than any series. Benefits from a strong emotional undertone. previous movies. It has always been beautiful to see these people acting like they are going to live forever. Haunted by the absence of lost friends and facing a pandemic-fueled world that forces all of us to face death on a daily basis, “Jack’s Forever” is all the more powerful because it’s called – and of For – was created by people who know they won’t be.
Paramount Pictures “Jackass Forever” will be released in theaters on Friday, February 4.
Source: David Ehrlich, IndieWire, Direct News 99