Take this Which Jackass Character Are You to find out. We update the quiz regularly and it’s the most accurate among the other quizzes.
Yes, four stars for “Jackass Forever,” a film in which people are blasted to smithereens in Port-a-Potties, strapped into centrifuges and forced to drink beverages until they vomit, threatened by bears and snakes, stung by scorpions and bees, and repeatedly bashed in the genitals by more individuals and devices than can be cited in detail in the sentence you’re currently reading.
Let us accept the dictum (huhr, huhr! He used the term “dict”), which was popularized by the site’s founder: work should be judged by what it is and tries to be. The star rating at the top of a RogerEbert.com review indicates how well a film appears to achieve the objectives it appears to have set for itself. This explains why Mr. Ebert gave four stars to “Au Hasard Balthazar,” “The Tree of Life,” “Blazing Saddles,” and “Raiders of the Lost Ark.” It’s unsportsmanlike to punish a meal for not being a sea bream filet with citrus fruit, peppers, and caramelized ventrèche when it’s just a hot dog with mustard. Also, you must try to play this Jackass quiz.
Which Jackass Character Are You?
As a result, it is with joy that I report that “Jackass Forever” is the most in-depth example of the template that the “Jackass” TV series and film franchise devised and perfected. It’s a slapstick extravaganza starring Buster Keaton and Jackie Chan, a WWE-styled spectacle, and a “geek trick.” Comedians and stunt performers Steve-O, Chris Pontius, Dave England, Wee Man, Danger Ehren, Preston Lacy, and Sean “Poopies” McInerney, as well as junior jackasses like Eric Manaka (of the “Jackass”-related “Action Point”) and Rachel Wolfson, and special guest stars like Eric André and Machine Gun Kelly, all gladly injure and debase themselves under the direction of lead jackasses Johnny Knoxville. Also, you will find out which Jackass character are you in this quiz.
It will come as no surprise to anyone who has read this far that “Jackass” has been the subject of poker-faced scholarly and critical analysis since it first aired on MTV. Amateurism, performativity, aging/mortality, “transgression, abjection, and the economy of white masculinity,” coded homosexuality, and homoeroticism have all been applied to it. “Has there ever been a group of straight men who wanted to f**k each other as desperately as these guys?” a 2010 article about “Jackass 3-D?” asked, noting that the film had been screened at the Museum of Modern Art in “the very building that also houses a Picasso collection.”
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The fact that the “Jackass” gang always maintains plausible deniability about whether they consciously embed any of this stuff into their material makes spelunking for meaning much more enjoyable, as fans of other populist art forms, such as pro wrestling and soap operas, have done for generations. “Visually, Jackass’ amateur aesthetic includes the use of the fisheye lens leftover from [the founding filmmakers’] skate videos, frequent zooms, and jerky, handheld cameras,” wrote Jorie Lagerwey in The University of Southern California’s Spectator magazine in the Spring 2004 issue. “It also relies on unrehearsed direct address, both introducing segments and commenting to the camera during the stunts, as well as the way the backstage—whether planning and preparation or filming—is frequently put in front of the camera.”
The film is also spirited—if gleefully strange—example of what critic Matt Singer refers to as a “legacyquel”—a work about passing a torch from a series’ founding generation to their successors, and weaving thoughts on age, physical decline, and the inevitability of death into the story rather than pretending to be immune to such concerns while whistling through the proverbial graveyard.
As it turns out, the graveyard here is more than metaphorical: there’s a lengthy sequence, consciously mirroring a previous bit, in which Wee Man is staked out almost-naked in a cemetery, with chunks of raw meat arranged on and around his twig and berries in preparation for the arrival of a vulture. Colleagues dressed as voodoo priests laugh and bray as they watch.
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