Johnny Knoxville and company return for the third installment of their TV show spin-off, where dangerous stunts and explicit public displays rule.Johnny Knoxville and company return for the third installment of their TV show spin-off, where dangerous stunts and explicit public displays rule.Johnny Knoxville and company return for the third installment of their TV show spin-off, where dangerous stunts and explicit public displays rule.
- Awards
- 1 win & 4 nominations
Jason 'Wee Man' Acuña
- Self
- (as Jason "Wee Man" Acuna)
Ehren McGhehey
- Self
- (as "Danger Ehren" McGhehey)
Storyline
Did you know
- TriviaJohnny Knoxville had one of his teeth knocked out by a flying dildo.
- GoofsIn 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.
- Alternate versionsThere's an unrated version of Jackass 3 released on DVD and Blu-Ray.
- It has an extended version of the "Super Mighty Glue" scene were Dunn has his ass glued to Phil's back, then Bam glues his hand to Dunn's face.
- An extended version of "Will The Farter" were Bam smokes a cigarette that was in Will's butt, throws up and see's something in a cup and throws up again.
- Another extended scene, during the "Duck Hunting" scene, Parks Bonifay has to act as a target as well.
- There's also an additional scene, in another part of the Rocky bit, Rick Kosick gets smacked in the head.
- There's another extended scene, during the "Lamborghini Tooth Pull", Pontius brushes his teeth with an electric toothbrush and says: "If you wanna walk the walk you gotta talk the talk. Or no one will take you serious.".
- During the ending credits, there's alternative footage. The theatrical version shows Dunn sitting on Phil's back while Bam glues his hand to Dunn's face. Because this has already been shown in the Unrated, this version shows a conclusion to Ehren's tooth removal.
- SoundtracksCorona
(Jackass Opera Mix)
Written by D. Boon
Produced and Performed by Sam Spiegel (as Squeak E. Clean)
Featured review
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
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
Details
Box office
- Budget
- $20,000,000 (estimated)
- Gross US & Canada
- $117,229,692
- Opening weekend US & Canada
- $50,353,641
- Oct 17, 2010
- Gross worldwide
- $171,685,792
- Runtime1 hour 34 minutes
- Color
- Sound mix
- Aspect ratio
- 1.78 : 1
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