Directed by Tim Kirkby
Starring – Johnny Knoxville, Bridgette Lundy-Paine, Johnny Pemberton
The Plot – Everyone’s favorite daredevil Johnny Knoxville is back to his hilariously painful antics in the upcoming comedy Action Point. Knoxville stars as D.C., the crackpot owner of a low-rent, out-of-control amusement park where the rides are designed with minimum safety for maximum fun. Just as D.C.’s estranged teenage daughter Boogie (Lundy-Paine) comes to visit, a corporate mega-park opens nearby and jeopardizes the future of Action Point. To save his beloved theme park and his relationship with his daughter, D.C. and his loony crew of misfits risk everything to pull out all the stops and stunts.
Rated R for crude sexual content, adult language, drug use, teen drinking, and brief graphic nudity
– Johnny Knoxville has made a career out of putting his body on the line, and even in films where this feels unnecessary and slightly forced, he at least always brings his A-game. Action Point brings with it enough debauchery and life-threatening stunts to keep Johnny constantly involved in the film, whether he wants to be or not.
– The film has a surprisingly toe-tapping soundtrack to boot all of its wacky hijinks. Artists like The Clash and Roger Alan Wade compliment the energetic musical score by Deke Dickerson that always amplifies each action sequence, and gives way to the film’s off-brand humor that never relents.
– There is absolutely nothing clever or intelligent about the film’s dialogue, so the humor muscle stems from Knoxville’s bodily harm that eventually wears itself thin. By the fourth or fifth time it happens, you begin to start mapping out how every sequence is going to turn out, lifting with it a cloud of predictability that should be anywhere but a Johnny Knoxville film.
– One aspect to recollection storytelling that always makes me laugh, is when the storyteller recalls events that they themselves weren’t there for, and Action Point is no stranger to this error. Through D.C’s words, he is able to recount conversations between characters that don’t include him, proving that much tender care was taken in bringing to life the believability of this story.
– What drives me crazy about this film is that they have a real life story in Action Park that practically writes itself, yet this trio of writers drop the ball at every opportunity in telling a story of a past time that feels worlds away now. From the family element between D.C and his daughter, to the unity and bond created between park members, nothing feels legitimate. A good example of everything I am talking about is the 2009 film Adventureland.
– Despite this film being 78 minutes, the pacing is an arduous task. As I’ve said before, when you’re not laughing in a film, it makes the ensuing minutes that much more torturous. I never laughed, nor did I even fake a laugh in this film. I figure if they’re not going to try, then why should I?
– I hate any film that makes me cheer on the intended antagonists and has me feeling like some rich, cynical snob, especially when said group is the bigger park that is trying to step on the little guy. This war of sides starts and ends with the Action Park team provoking them, and for a group that is trying to frame them as the prized antagonists, I would sell their hick ideals up the river for a slice of cherry pie.
– This is a world inside of the film with no consequences for any of its characters. With the exception of minimal injuries leading to something bigger with a subplot, every patron of Action Park is apparently never compromised with the neglected conditions of the park, establishing an air of lies within the very events that it depicts. If you read up on the real life Action Park, you will understand the importance of the injuries and ensuing lawsuits that took place against the park, painting the crew as their own villain.
– Shoddy production quality. The film has an overall cheap quality to its cinematography and editing work that can’t escape that feeling of a made-for-TV movie. Multiple frames are distorted and out of focus, continuity errors from scene-to-scene pop up like snake grass, and the transitions never feel eased or in-sync with the proper fluidity of a Hollywood picture. I’ve seen better production from Knoxville movies like The Ringer, or even the trio of Jackass movies. What gives?
– As I mentioned earlier, Knoxville can at least bring it in a physical capacity, but the film’s charmless screenplay acts as a sort of D.D.T to any kind of personality that he brings to the role. In addition to Johnny, fellow Jackass cast-mate Chris Pontius feels like a punishment each time he pops up to show us his bulge in skimpy underwear, or present in full illustration that junkie from high school who never grew up nor quit his addictions. In fact, there isn’t a single credible performance that I can even pretend to mold. It’s all a big waste of time, both mine and theirs.