Film

Landspeed presents: CKY

Name: Landspeed presents: CKY
Genre: Comedy, Documentary, Action
Released: 1999
Cast: Bam Margera, Brandon DiCamillo, Ryan Dunn, Phil Margera, April Margera

Action
Comedy
Light-hearted
Relentless

The debut CKY video captures a group of skateboarders and their friends performing increasingly absurd and dangerous stunts with camcorder ingenuity and zero professional safety standards. It's chaotic, grimy, deliberately amateurish—more like watching your friends' reckless weekend than a polished film. Blissfully unconcerned with narrative, it's pure kinetic energy for people who find joy in controlled mayhem.

TMDb rating

3.4

Should you watch it?

Watch it if you love raw, homemade skate videos where the stunts are dangerous, the friendships are loud, and the camera feels like it's tagging along with a gang of idiots who are having the time of their lives.

Skip it if you want polished filmmaking or a narrative with structure, since this is a loose, scrappy collection of stunts and pranks that rarely stops to build much beyond the next jump.

What it asks of you: Little beyond an hour of your attention, since it runs about sixty-six minutes and moves in quick, jittery bursts with no need to follow a plot or keep track of characters.

Not sure? Find tonight's pick in a minute.

If you liked this

Jackass: The Movie2002

The spiritual successor with bigger budgets and MTV distribution, but the same anarchic energy. Johnny Knoxville and crew pushing boundaries through stunts designed to make you wince and laugh simultaneously.

But Production value actually works against the rough charm—it feels more calculated, less like friends filming in backyards. Also, some stunts haven't aged well morally.

Toy Story1995

A complete tonal opposite that proves 1990s filmmaking could be either perfectly rendered animation or gloriously lo-fi chaos. Both are products of their moment, equally reflective of late-90s innovation.

But This is a curveball. If you're looking for stunts or laughs at others' expense, Pixar isn't your film.

Clerks1994

Kevin Smith's black-and-white debut shares CKY's DIY aesthetic and your-friends-making-art ethos. Proof that limitations breed creativity and that authenticity beats Hollywood gloss every time.

But It's dialogue-driven and stationary where CKY thrives on movement. You have to genuinely enjoy Smith's voice or you'll find it self-indulgent.

Not sure tonight? Get a pick in a minute, starting from Landspeed presents: CKY

The wildcard

Something you would not have found on your own.

Koyaanisqatsi1983

Both strip away convention to show raw reality—one through the frenzy of stunts, one through the frenzy of modern life. Both believe the camera alone can make meaning.

No dialogue, pure image-music synchronization, shot on film with meticulous framing—the opposite of CKY's chaos, yet both are about showing you the world you don't normally see. Godfrey Reggio's avant-garde meditation proves that "filmmaking" doesn't require narrative.

But It's slow, abstract, asks for patience and interpretation. If you want laughs and story, this will feel pretentious and boring.

Baby Doll1956

Bam Margera's feature-length evolution of the formula, with better production but the same willingness to destroy property and friendships for entertainment. Higher stakes, more elaborate revenge sequences.

But By this point the formula is familiar. The stunts are more coordinated, which means slightly less genuine chaos. You might feel you've already seen this.

Nitro Circus: The Movie2012

Travis Pastrana's answer to Jackass, built around motorcycle and BMX stunts instead of pure absurdism. The technical skill is genuinely impressive, the energy infectious.

But It's leaning toward sports documentary rather than comedy—if you want laughs, not awe, you might find it one-note.

The Godfather1972

Opposite-end-of-the-spectrum filmmaking: meticulous craft, perfect framing, every shot deliberate. Watch it to understand what CKY's chaos is reacting against, and why that rebellion mattered.

But This is homework masquerading as a recommendation. If you hate slow-burn narrative, Coppola won't convert you.

Gummo1997

Harmony Korine's deliberately ugly provocation has the same amateurish energy and anti-establishment attitude. It's uncomfortable by design, art made from refuse and disgust.

But It's genuinely difficult to watch—not fun-difficult like CKY, but disturbing-difficult. The stunts here are emotional rather than physical.

The Ring2002

A mainstream horror that still captures late-90s/early-2000s visual texture. Grainy videotape aesthetics, kids on cameras, found-footage DNA—the same era's visual language used for dread instead of laughs.

But Completely different in tone and intent. You're here for the camera work and period, not the story.

American History X1998

Also '90s, also features shocking imagery and a young cast, also wants to provoke. Shows how the same visual grammar could be deployed for serious social commentary.

But Tonally miles away—heavy and tragic where CKY is playful. The provocations serve a message rather than chaos for its own sake.

Mad Max 21981

Both films are obsessed with movement through space and the visual comedy of collisions. Miller just has thirty years and a bigger budget. Same DNA, different execution.

George Miller's kinetic action masterpiece is pure motion design—cuts, angles, and physics orchestrated into a dance. It's the art-film version of what CKY attempts: showing bodies and danger in space, but with complete technical control.

But Post-apocalyptic sci-fi with dated effects. If you're allergic to genre trappings or 1980s production design, the messenger will distract you.

Grey Gardens1976

Both capture the comedy of people being exactly themselves in front of a camera, without filter or edit. Both prove that authenticity—even ugly authenticity—is more compelling than performance.

A documentary about two eccentric women living in squalor, shot with observational cinema techniques that let chaos and absurdity bloom naturally. Like CKY, it's funny, uncomfortable, and completely real—but it's about entropy and time rather than performed stunts.

But It's a genuine documentary without a plot or characters performing for the camera. The humor is unintentional and often sad. It requires genuine empathy alongside the spectacle.