Why Jackass Forever deserves the Best Editing… | Little White Lies

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Why Jack­ass For­ev­er deserves the Best Edit­ing Acad­e­my Award

28 Feb 2023

Words by Callie Petch

Three medical staff members examining a patient, all wearing scrubs and a lab coat. The patient appears surprised, with a shocked expression on their face.
Three medical staff members examining a patient, all wearing scrubs and a lab coat. The patient appears surprised, with a shocked expression on their face.
Com­e­dy is a fre­quent­ly over­looked genre when it comes to pres­ti­gious awards, but Jack­ass For­ev­er proves that it takes a lot of effort to effort­less­ly look foolish.

In a new series, we’re cel­e­brat­ing the films we loved that aren’t like­ly to dom­i­nate the awards race. Over the new few weeks, our writ­ers make pas­sion­ate argu­ments for the per­for­mances and craft that stood out to them, from block­busters to art­house and every­thing in between.

When it comes to Awards Sea­son, a lot of the Best Edit­ing nom­i­na­tions get hand­ed out to the films with the Most Edit­ing. Fan­cy tran­si­tions, show-offy stitch­ing of faux-long takes, rapid rhyth­mic inter­cuts, and jug­gling mul­ti­ple char­ac­ters or time peri­ods all tend to draw the eye of vot­ers. Those fan­cy edits do have their place, but great edit­ing is also about the seams you don’t see – the pre­cise tim­ings and rhythms so vital to a work’s effec­tive­ness yet so often unre­marked upon by the casu­al viewer.

Com­e­dy fea­tures have his­tor­i­cal­ly been under­rep­re­sent­ed in this regard, unless they are Adam McK­ay or David O. Rus­sell films which over­dose on Most Edit­ing tropes. This is despite great edit­ing in a com­e­dy being the key to whether a great joke lands like an upper­cut or dies on the vine. While The Daniels’ dram­e­dy Every­thing Every­where All at Once has man­aged to break into the cat­e­go­ry short­list this year, I can think of a more left-field choice which equal­ly deserves to be there: Jack­ass For­ev­er.

Jack­ass movies are, at their core, just com­pi­la­tions of stunts and skits. The Jack­ass crew and their var­i­ous assort­ed guests injure, embar­rass, prank, and debase them­selves for 90 min­utes straight in a series of sequences which run the gamut from the elab­o­rate (a hid­den-cam­era prank where John­ny Knoxville in old-man make-up gets launched through a fur­ni­ture store roof by fake employ­ee Zach Holmes) to the dirt-sim­ple (Chris Pon­tius drink­ing a jar of pig semen). That’s it. No mat­ter how cre­ative the set-ups and exe­cu­tions of peo­ple get­ting punched in the penis, this should by all rights get repet­i­tive, exhaust­ing or out­right dull before we even reach the halfway mark.

In actu­al­i­ty, that hypo­thet­i­cal nev­er arrives. Whilst some cred­it is cer­tain­ly due to the Jack­ass guys and gals for com­ing up with increas­ing­ly elab­o­rate ways to cause each oth­er pain, the real stars of the show are direc­tor Jeff Tremaine’s team of edi­tors: Matthew Kosin­s­ki, Matthew Prob­st, and Sascha Stan­ton-Craven. On macro and micro lev­els, these three are a key com­po­nent as to why Jack­ass For­ev­er was the fun­ni­est com­e­dy of 2022.

On the macro lev­el, there are only so many ways that a Jack­ass stunt can go. When bro­ken down, each falls into one of four main cat­e­gories: nut shot”, prank”, ani­mal goofs”, or oth­er”. This isn’t an exact sci­ence, with a fair bit of over­lap, but that’s still not a tonne of vari­a­tion for the 36 non-title sequence stunts in Jack­ass Forever. 

Kosin­s­ki, Prob­st, and Stan­ton-Craven there­fore have to care­ful­ly spread these stunts through­out the run time to ensure that a view­er doesn’t get bored or cot­ton on too detri­men­tal­ly to the rhythms of each cat­e­go­ry. Ehren McGhehey’s big bear prank, involv­ing him strapped to a chair whilst a griz­zly eats salmon and licks hon­ey off his body, would not have been as effec­tive had it been pre­ced­ed by the stunt in which Wee-Man is tied down whilst a vul­ture eats meat slabs off his naked body.

Three medical staff members examining a patient, all wearing scrubs and a lab coat. The patient appears surprised, with a shocked expression on their face.

For­ev­er stunts are split almost even­ly between BIG ones – requir­ing lots of prep-work in terms of set-up or the­atri­cal deliv­ery – and sim­ple ones which could be eas­i­ly repli­cat­ed by view­ers. Relat­ed­ly, there’s also a near-even split between sequences that last under and over two min­utes. Split­ting up a more involved stunt with some­thing that’s quick-fire and straight­for­ward is a throw­back to the 90s skate cul­ture videos which Jack­ass was born from, but this also works to vary up the pac­ing of the movie, as well as reset the tone where required. 

It’s a delib­er­ate choice to fol­low-up the mul­ti-tiered kai­ju-homage open­ing (eas­i­ly the biggest title sequence Jack­ass has staged with giant explo­sions, back­lot sets and prop­er minia­tures) with Human Ramp” which involves someone’s back­yard, six pieces of ply­wood, a bike, and the gang all stacked on top of each oth­er to turn that ply­wood into, er, a ramp. A reminder that, no mat­ter how big of a cul­tur­al land­mark Jack­ass may be, it’s still fun­da­men­tal­ly just a gang of idiots doing stu­pid stuff at home.

On the micro-lev­el, the edit­ing choic­es are so key to each stunt’s capac­i­ty for hys­ter­ics. I think of how The Boar-Kake” doesn’t reveal the high­ly-con­spic­u­ous tube sit­u­at­ed above Dave England’s chair until after the pig cum has been dumped on his head, adding fur­ther poet­ry to Knoxville’s We don’t ques­tion it” response when rap­per Tyler, the Cre­ator incred­u­lous­ly asks him how on earth Dave fell for the prank. There’s a musi­cal rhythm to the mon­tage-heavy stunts – anoth­er call­back to Jack­ass’ skate ori­gins – which are often sub­tly timed for the hit of the stunt to also hit a peak of the song, such as the soft­ball part of The Cup Test” hav­ing Ehren first get blast­ed right on the drop of Leave Home” by The Chem­i­cal Brothers.

The pre­cise bal­ance of build-up to pay-off to reac­tion to fur­ther pay-off is maybe best epit­o­mised by Silence of the Lambs”, which is a mul­ti-staged group prank that lures cast mem­bers into a room under the pre­tence of see­ing Knoxville mess with a ven­omous snake (removed with­out their knowl­edge before the prank prop­er starts) only for him to lock them in with the lights off and harass them. The first minute estab­lish­es the pran­kee pair­ings, all the snake info required to ful­ly freak them out when the lights go out, and the struc­ture of the prank overall.

Once the lights are off, the edit­ing cuts between each of the three pair­ings as they react to the sub­se­quent phas­es of the prank, pro­vid­ing a con­stant string of pay-off laughs at their com­men­tary and suf­fer­ing. Then – right at the point where the com­e­dy seems to have peaked – the hid­den esca­la­tion is revealed to the view­er when a non-locked door leads to an escape room rigged with hang­ing pans and loaded mouse traps. The cut to Ehren on the oth­er side of that door, reveal­ing the pan traps only a few sec­onds before he walks head­first into them, is the def­i­n­i­tion of mas­ter­ful com­ic editing.

A lot of the tru­ly great edit­ing jobs are in movies where you don’t even recog­nise how foun­da­tion­al they are to the film’s work­ing until you seri­ous­ly and close­ly exam­ine them. Jack­ass For­ev­er, for all its hys­ter­i­cal stunt craft, sim­ply would not work if the edit­ing wasn’t as qui­et­ly bril­liant as it is. That’s got­ta be wor­thy of recognition.

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