Latest news with #LaBeouf
Geek Tyrant
7 days ago
- Entertainment
- Geek Tyrant
Shia LaBeouf Saddles Up for Crime Thriller Film GOD OF THE RODEO — GeekTyrant
Shia LaBeouf is set to star in God of the Rodeo , a new crime thriller written and directed by Father Stu filmmaker Rosalind Ross. The movie is set in Louisiana's infamous Angola Prison in 1967, God of the Rodeo tells the story of Buckkey, 'a hardened inmate serving a life sentence who finds a glimmer of redemption in an unlikely opportunity: the prison's first-ever inmate rodeo. 'As Buckkey and his fellow inmates prepare for a last grasp at glory, they're confronted with the reality that the rodeo is nothing more than a gladiatorial showcase — a grueling fight for survival designed to satiate the public's bloodlust and fulfill the warden's delusion of godliness." The film is based on journalist Daniel Bergner's real-life reporting from inside the prison which was one the most violent prisons in the American South. Giannina Scott is producing through her Cara Films label, with Ridley Scott and Michael Pruss on board via Scott Free Films. It sounds like exactly the kind of role that will give LaBeouf space to go unhinged, soulful, and unpredictable, as he likes to do with the films he stars in. LaBeouf's been keeping busy. He's currently on screen in Salvable , a Lionsgate drama about a washed-up boxer trying to fix things with his estranged daughter. He's also in David Mamet's Henry Johnson , which adapts Mamet's 2023 play and puts LaBeouf in the middle of a moral tailspin. God of the Rodeo doesn't have a release date yet, but it sounds like it will be a great project for LaBeouf to take on. Source: Deadline
Yahoo
22-05-2025
- Entertainment
- Yahoo
The Cannes dress code polices bodies. Why doesn't the festival protect them?
CANNES, France — Attending a premiere at the Cannes Film Festival is one of the most prestigious things a filmmaker or star can do. Audience members are asked to dress in evening wear as a sign of respect to those who worked hard on the movie that's screening for the first time. Days before the event began this year, organizers revealed new rules: 'For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival,' Cannes' charter stated. It also bans 'voluminous outfits … that hinder the proper flow of traffic of guests and complicate seating in the theater.' Halle Berry, a member of the festival's prestigious jury this year, said at a press conference that she had to ditch her original outfit plans for the red carpet because her gown violated the dress code. She wore it to a gala a few days later. Bella Hadid, who frequently attends Cannes and makes headlines with her daring fashion, kept things covered up this year. On the ground in France and online, I witnessed discussions of people turned away from the festival or panicking about what they'd be able to wear into the hallowed Grand Auditorium Lumière. Naked dresses are a popular trend, and pantsless outfits made headlines weeks earlier at the Met Gala. The strict dress code has also raised concerns about what kind of behavior is barred from the festival. And dress code rules weren't the only headline-making trend on the red carpet at Cannes. Certain attendees turned heads too. Ezra Miller swiftly and surprisingly walked down the red carpet at the May 17 premiere of Lynne Ramsay's Die, My Love. The nonbinary actor starred in the director's 2011 movie We Need to Talk About Kevin, which also premiered at Cannes, and was presumably there to support her. Miller had been keeping a low profile in recent years following a spate of incidents. In April 2020, they were filmed appearing to choke a woman in Iceland and were arrested several times in 2022 for apparent erratic behavior. Miller did not stop for photos or speak to the press. Shia LaBeouf appeared at the May 18 premiere of Leo Lewis O'Neill's Slauson Rec, a documentary about LaBeouf's experimental theater company that Variety described as 'a descent into ego-driven insanity, complete with physical violence and harrowing screaming matches.' He is shown berating members of the company, and nearly 30 theatergoers walked out of the screening. A month after the acting troupe disbanded, LaBeouf was sued by his ex-girlfriend FKA Twigs for sexual battery, assault and infliction of emotional distress. He is scheduled to stand trial in September. 'I gave Leo this camera and encouraged him to share his vision and his personal experience without edit. I am aware of the doc and fully support the release of the film. While my teaching methods may be unconventional for some, I am proud of the incredible accomplishments that these kids achieved,' LaBeouf told Vanity Fair in a statement. James Franco shocked attendees by walking the May 20 red carpet at the premiere of Rebecca Zlotowski's new film, Vie Privée. His career was derailed by sexual misconduct allegations that began to surface in 2018. He posed for photos but did not speak with the press. Kevin Spacey accepted an award and gave a speech at a May 20 gala in Cannes hosted by the Better World Fund, which is not officially sanctioned by the festival. His attendance was orchestrated by the producers of the film The Awakening, in which he stars. Spacey has not attended Cannes since allegations of sexual misconduct against him from dozens of men surfaced in 2017. X users were quick to call out the apparent disconnect between how the festival provided rules for what people could wear on the carpet, but not for those who could attend Cannes events. 'Abusers are welcomed with open arms but god forbid a woman wears a 'distracting' dress,' one X user wrote. 'Kevin Spacey, Ezra Miller, Shia LaBeouf and every other Hollywood abuser known to mankind prancing around Cannes but somehow nude and voluminous dresses were the real problem,' another said. Einav Rabinovitch-Fox, a professor at Case Western Reserve University who specializes in history and fashion, told Yahoo Entertainment that 'France has this reputation of saying … 'We're not like those American prudes,' but the reputation is also a myth.' Rabinovitch-Fox said that France 'has not really confronted issues like #MeToo,' but fashion can help start those conversations. 'This is how French people act. I don't know if Cannes is really doing something unusual here. The story of policing women's bodies while letting men do whatever they want is as old as time,' she said. 'In 2025, I am happy to see that people are like, 'Maybe we should revisit this narrative!'' Claire Sisco King, a communications professor at Vanderbilt University, told Yahoo Entertainment that 'Western culture is still governed by patriarchal expectations about women, which often manifests in efforts to regulate their appearance, bodies, sexuality, etc.' 'The policies at Cannes, which regulate how much women can expose their bodies (the no 'naked' dress rule) and how much space they can take up (the no long trains rule), illustrate how normalized it is for institutions to manage and discipline how women appear and occupy space,' she explained. 'That such regulations exist alongside the lack of prohibitions against men who have been accused of abuses against women might feel shocking in some ways, but that juxtaposition is hardly surprising.' King said both tendencies arise from 'the same patriarchal norms that cast women as objects or even possessions and that position men as sovereign subjects who are allowed to do as they please.' Cannes banned Théo Navarro-Mussy, who was accused of rape, from walking the red carpet for the movie Case 137, which he stars in. He denies wrongdoing. The film's director, Dominik Moll, told the Associated Press he supported the decision to ban Navarro-Mussy. Festival director Thierry Frémaux, who banned Navarro-Mussy, defended Roman Polanski for many years despite his guilty plea in the U.S. for sex with a 13-year-old. According to Variety, this is the first time in the festival's 78-year history that a ban like that of Navarro-Mussy has been put into place. 'Can a country that celebrates seduction and irreverence finally hold its male icons to account?' wrote Thomas Adamson of AP. Still, those four American actors — Miller, LaBeouf, Franco and Spacey — had their moment to shine during the festival. Rabinovitch-Fox told Yahoo Entertainment that the dress code issue and the discussion about which people are allowed to walk red carpets might be two separate conversations, but it wouldn't be bad if people started thinking about 'who's being forgiven and who's not being forgiven.' As for Spacey, he told the crowd, 'it's very nice to be back.'
Yahoo
21-05-2025
- Entertainment
- Yahoo
The Cannes dress code polices bodies. Why doesn't the festival protect them?
CANNES, France — Attending a premiere at the Cannes Film Festival is one of the most prestigious things a filmmaker or star can do. Audience members are asked to dress in evening wear as a sign of respect to those who worked hard on the movie that's screening for the first time. Days before the event began this year, organizers revealed new rules: 'For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival,' Cannes' charter stated. It also bans 'voluminous outfits … that hinder the proper flow of traffic of guests and complicate seating in the theater.' Halle Berry, a member of the festival's prestigious jury this year, said at a press conference that she had to ditch her original outfit plans for the red carpet because her gown violated the dress code. She wore it to a gala a few days later. Bella Hadid, who frequently attends Cannes and makes headlines with her daring fashion, kept things covered up this year. On the ground in France and online, I witnessed discussions of people turned away from the festival or panicking about what they'd be able to wear into the hallowed Grand Auditorium Lumière. Naked dresses are a popular trend, and pantsless outfits made headlines weeks earlier at the Met Gala. The strict dress code has also raised concerns about what kind of behavior is barred from the festival. And dress code rules weren't the only headline-making trend on the red carpet at Cannes. Certain attendees turned heads too. Ezra Miller swiftly and surprisingly walked down the red carpet at the May 17 premiere of Lynne Ramsay's Die, My Love. The nonbinary actor starred in the director's 2011 movie We Need to Talk About Kevin, which also premiered at Cannes, and was presumably there to support her. Miller had been keeping a low profile in recent years following a spate of incidents. In April 2020, they were filmed appearing to choke a woman in Iceland and were arrested several times in 2022 for apparent erratic behavior. Miller did not stop for photos or speak to the press. Shia LaBeouf appeared at the May 18 premiere of Leo Lewis O'Neill's Slauson Rec, a documentary about LaBeouf's experimental theater company that Variety described as 'a descent into ego-driven insanity, complete with physical violence and harrowing screaming matches.' He is shown berating members of the company, and nearly 30 theatergoers walked out of the screening. A month after the acting troupe disbanded, LaBeouf was sued by his ex-girlfriend FKA Twigs for sexual battery, assault and infliction of emotional distress. He is scheduled to stand trial in September. 'I gave Leo this camera and encouraged him to share his vision and his personal experience without edit. I am aware of the doc and fully support the release of the film. While my teaching methods may be unconventional for some, I am proud of the incredible accomplishments that these kids achieved,' LaBeouf told Vanity Fair in a statement. James Franco shocked attendees by walking the May 20 red carpet at the premiere of Rebecca Zlotowski's new film, Vie Privée. His career was derailed by sexual misconduct allegations that began to surface in 2018. He posed for photos but did not speak with the press. Kevin Spacey accepted an award and gave a speech at a May 20 gala in Cannes hosted by the Better World Fund, which is not officially sanctioned by the festival. His attendance was orchestrated by the producers of the film The Awakening, in which he stars. Spacey has not attended Cannes since allegations of sexual misconduct against him from dozens of men surfaced in 2017. X users were quick to call out the apparent disconnect between how the festival provided rules for what people could wear on the carpet, but not for those who could attend Cannes events. 'Abusers are welcomed with open arms but god forbid a woman wears a 'distracting' dress,' one X user wrote. 'Kevin Spacey, Ezra Miller, Shia LaBeouf and every other Hollywood abuser known to mankind prancing around Cannes but somehow nude and voluminous dresses were the real problem,' another said. Einav Rabinovitch-Fox, a professor at Case Western Reserve University who specializes in history and fashion, told Yahoo Entertainment that 'France has this reputation of saying … 'We're not like those American prudes,' but the reputation is also a myth.' Rabinovitch-Fox said that France 'has not really confronted issues like #MeToo,' but fashion can help start those conversations. 'This is how French people act. I don't know if Cannes is really doing something unusual here. The story of policing women's bodies while letting men do whatever they want is as old as time,' she said. 'In 2025, I am happy to see that people are like, 'Maybe we should revisit this narrative!'' Claire Sisco King, a communications professor at Vanderbilt University, told Yahoo Entertainment that 'Western culture is still governed by patriarchal expectations about women, which often manifests in efforts to regulate their appearance, bodies, sexuality, etc.' 'The policies at Cannes, which regulate how much women can expose their bodies (the no 'naked' dress rule) and how much space they can take up (the no long trains rule), illustrate how normalized it is for institutions to manage and discipline how women appear and occupy space,' she explained. 'That such regulations exist alongside the lack of prohibitions against men who have been accused of abuses against women might feel shocking in some ways, but that juxtaposition is hardly surprising.' King said both tendencies arise from 'the same patriarchal norms that cast women as objects or even possessions and that position men as sovereign subjects who are allowed to do as they please.' Cannes banned Théo Navarro-Mussy, who was accused of rape, from walking the red carpet for the movie Case 137, which he stars in. He denies wrongdoing. The film's director, Dominik Moll, told the Associated Press he supported the decision to ban Navarro-Mussy. Festival director Thierry Frémaux, who banned Navarro-Mussy, defended Roman Polanski for many years despite his guilty plea in the U.S. for sex with a 13-year-old. According to Variety, this is the first time in the festival's 78-year history that a ban like that of Navarro-Mussy has been put into place. 'Can a country that celebrates seduction and irreverence finally hold its male icons to account?' wrote Thomas Adamson of AP. Still, those four American actors — Miller, LaBeouf, Franco and Spacey — had their moment to shine during the festival. Rabinovitch-Fox told Yahoo Entertainment that the dress code issue and the discussion about which people are allowed to walk red carpets might be two separate conversations, but it wouldn't be bad if people started thinking about 'who's being forgiven and who's not being forgiven.' As for Spacey, he told the crowd, 'it's very nice to be back.'
Yahoo
20-05-2025
- Entertainment
- Yahoo
Shia LaBeouf's Theater Company From Hell: Cannes Doc Reveals Actor's Misconduct With Students and Hopes for Redemption
Leo Lewis O'Neil's documentary 'Slauson Rec' was one of the late additions to the Cannes Film Festival lineup, but it's certainly now one of the festival's buzziest titles following its premiere in the Cannes Classics section. The film, which received a two-minute ovation on Sunday, had been teased for weeks as a rollercoaster ride through an experimental theater company run by a famous (or infamous, according to some) actor. In a smaller theater inside the festival's Grand Palais on Sunday, however, the full two-hour-and-25-minute documentary was no trip to the theme park. More from Variety Cannes Film Festival President Iris Knobloch Awarded Commander of the Order of Arts and Letters by the French Culture Minister Wes Anderson Delights Cannes as 'Phoenician Scheme' Lands 6.5-Minute Standing Ovation, Leading Lady Mia Threapleton Overcome With Tears 'The Phoenician Scheme' Review: Wes Anderson Weighs In on the Art of the Deal and Assorted Other Funny Business What begins as a 2018 attempt to build a creative 'family' of players and stimulate the community of South Central Los Angeles played more like a descent into ego-driven insanity, complete with physical violence and harrowing screaming matches. LaBeouf turned up to the screening, in what was his first time seeing the film. He spoke with festival director Thierry Frémaux at the start, simply saying, 'I'm so grateful [O'Neil] still lets me around him and bring him ideas.' In the opening moments of the movie, LaBeouf sits for a present-day interview. 'I've done a lot of coming to terms with the failure that was my life, and the plastic foundation I had,' LaBeouf says. 'I left a lot of people in the wake of my personality defects.' The vibe inside the premiere seemed to mirror what the on-screen theater group lived through: cautious optimism and joy when LaBeouf is engaged about creating art, suffocating tension when he flies off the handle berating actors and crew members with sanctimonious lectures and laugh-out-loud disbelief when the star tries to justify his behavior in the aftermath. It's an endless loop of rage and regret, which caused nearly 30 audience members to trickle out of the auditorium during the screening. The emotional terror LaBeouf wreaks borders on the inhumane. A company member named Sarah, a fan of the actor's since he starred in the Disney Channel original 'Even Stevens,' lands a lead role in a drive-in play from LaBeouf's company during the onset of the coronavirus pandemic. As her mother sits dying in the hospital from some undisclosed infection, she chooses to remain in rehearsals for the chance to work with her mentor. After her mother passes and the play is two weeks from opening, LaBeouf fires her, saying the show simply works better without her in the part. In a similar scenario, a young company member named Zeke books a role on the Netflix original 'On My Block' parallel to the company's work. LaBeouf seemingly turns on him, nicknaming him James Dean and ratcheting up the criticism of his performance. It ends with Zeke quitting 45 days into rehearsals, and LaBeouf instigating a fist fight with him that leaves the aspiring performer with scrapes and bruises. An incident that is included in documentary shows another encounter with LaBeouf and Zeke. Footage shows LaBeouf slamming a table with his fist and yelling at Zeke: 'I don't give a fuck what you say to me… You've got it better than I ever had it. What the fuck is the attitude problem? I'm giving you everything I have, so stop fucking with me.' The actor then shoves Zeke against a wall. Director O'Neil revealed to Vanity Fair prior to Cannes that his involvement in the documentary started when he showed up to attend LaBeouf's acting class with a camera in hand. The director said LaBeouf asked him if he would film everything that took place at Slauson. O'Neil did just that over the next few years until the acting school was disbanded in November 2020 amid the COVID pandemic. LaBeouf was sued by singer FKA Twigs for sexual battery, assault and emotional distress a month after the school was disbanded. Given the footage in his documentary, O'Neil told Vanity Fair that he sent LaBeouf a trailer for the project seeking his sign-off on it. LaBeouf allegedly gave his full blessing for the movie to be made without any editorializing on his behalf; thus, scenes of alleged physical violence remain in the final cut. LaBeouf gave the following statement to Vanity Fair: 'I gave Leo this camera and encouraged him to share his vision and his personal experience without edit. I am aware of the doc and fully support the release of the film. While my teaching methods may be unconventional for some, I am proud of the incredible accomplishments that these kids achieved. Together we turned a drama class into an acting company. I wish only good things for Leo and everyone who was part of The Slauson Rec Company.' Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Yahoo
20-05-2025
- Entertainment
- Yahoo
‘Slauson Rec' Review: A Documentary About Shia LaBeouf's Acting Class — and His Anger Issues — Is More Appalling Than Fascinating
'Slauson Rec,' a documentary starring Shia LaBeouf and his mental trauma, is not a good movie. But it's a timely artifact of one of the things movies are now up against — a pathological and vampiristic celebrity culture that sucks all the air out of the room. In 2018, LaBeouf posted a video on Twitter announcing the formation of a free weekly theater workshop that would meet every Saturday at the Slauson Recreation Center in South Central Los Angeles. Hundreds of people showed up for it, lured by the magnet of LaBeouf's name. One of them was Leo Lewis O'Neil, a young man who wasn't interested in being an actor but who volunteered to record the workshop on camera. Over the next three years, he shot hundreds of hours of footage of LaBeouf and his followers doing their experimental theater thing, writing and rehearsing several 'plays' they presented in a nightclub and, ultimately, in a dusty parking lot. The movie O'Neil has put together out of this footage, which premiered last night at Cannes, is by any real-world standard a slovenly and undisciplined piece of work. 'Slauson Rec' is two-and-a-half hours long, and it's little more than an endless dispiriting diary-like ramble. Yet it also functions as a vérité exploitation film, since the only thing in it that's actually interesting is watching Shia LaBeouf parade himself as a kind of acting guru and mentor, only to descend into an increasingly furious and abusive and unhinged place that leaves us with the profound question, 'What in the fuck's name is going on here?' More from Variety Wes Anderson Mocks Trump's Movie Tariffs at Cannes: 'Can You Hold Up the Movie in Customs? It Doesn't Ship That Way' Wes Anderson Powers Satyajit Ray's 'Aranyer Din Ratri' Rescue for Cannes Classics BrLab Unveils New Dates, Co-Pro Forum and Regional Spread Ahead of 15th Anniversary Edition (EXCLUSIVE) Let's be clear: Shia LaBeouf is not just someone in deep need of anger-management therapy. He's an extraordinarily gifted actor (I was reminded of this just a couple of weeks ago, when I reviewed his forceful performance in the David Mamet film 'Henry Johnson'), and he's also the definition of a charismatic person. In 'Slauson Rec,' whether he's being supportive or hellacious, you can't take your eyes off him. He's got a stare of burning intensity and a hyper-articulate blunt showmanship that grows out of that quality. (He also has a penchant for sporting facial hair that looks like it came out of a costume shop.) In the documentary, he is always on, always making everything about him, with the underlying conviction that he's the most arresting person in the room. Early on, we give him the benefit of the doubt, since he seems to be employing his charisma in a generous way (volunteering his time to inspire a bunch of people in South Central). His volatile acting-coach showmanship feels like it's part of a tradition, stretching all the way back to Lee Strasberg and Stella Adler and incorporating the exhibitionistic ethos of the let-it-all-hang-out, acting-as-self-actualization thing that defined the experimental theater movements of the late '60s and '70s. The Slauson Rec theater experiment, as LaBeouf explains it, is an attempt to gather people together and give them a club, a community, an artistic laboratory, a family. And in the eagerness of the participants to go along with whatever LaBeouf says, we feel the desperate hunger they have to belong. LaBeouf isn't just showing them how to act. He's giving them hope. From the start, though, you may wonder what, exactly, he's out to accomplish creatively. He talks a good game, like a theatrical cult leader, but he has the participants doing 'devised theater,' which after a while seems to come down to a kind of ritual group body-tapping and choreographed aerobics. It looks like they're doing an elaborate series of warm-up exercises, which is fine in the early weeks, when they're just getting to know each other. But once they've been at this for months, it starts to become clear that LaBeouf doesn't really have a plan. He's just throwing stuff against the wall, using his heady psychodramatic acting-coach jargon and tough-love 'I'm doing this for you!' personality to turn anything and everything into an 'encounter session.' And given that these are not professional actors, or even (in most cases) people who aspire to be, LaBeouf's words to them, full of deadly serious jabber about empathy and ego, are pumped up with an intensity that feels overdone and inappropriate. And that's before he starts blowing his fuse. Once the pandemic hits, the Slauson Recreation Center tosses the group out (at this point, they've melted down to about 50 people), and they wind up rehearsing with masks under the hot L.A. sun in an anonymous dusty parking lot surrounded by a chain-link fence, with two tables under a red tent. The place becomes their sunlit prison (and ours). They've already put on one 'play,' which looks, from what we see of it, like a glorified hip-hop open-mic night. Now they're writing and rehearsing a follow-up, some sort of multimedia action-theater piece entitled '5711 Avalon,' though the film never gives us a halfway coherent idea of what it is. Yet the more sketchy and aimless the Slauson Rec troupe becomes, the more LaBeouf seizes onto the notion that the members are not living up to what they're supposed to be doing. They're disappointing him (but only because he cares so much). He targets one member, a 22-year-old kid named Zeke, who seems like the sweetest guy, and LaBeouf starts to torment him like a drill sergeant who has picked out his patsy. 'Don't play that fuckin' James Dean shit with me, dude,' he says. He also says things like, 'I love you if you make my life better. If you make my life worse, I don't love you. That's how I'm built' and 'This is really the last of the refinements! You really need to pay attention to this shit' and 'I said giggle! What fuckin' version of what the fuck I said is what the fuck you did?' LaBeouf declares in the movie that he's an alcoholic, and he talks, at one point, about how he's always beating himself up in his own brain. But that's not exactly reassuring. He's got his shirt off a lot, baring the wall of chest tattoos he got to make the movie 'The Tax Collector,' and we start to notice that he's shouting all the time, as if the fate of the world were hanging on how effectively he can get this ragtag bunch of people to act. Yet we can't even tell the difference between if they're doing it well or doing it badly. And that's part of what's so destabilizing about LaBeouf's rants, his tantrums, his meltdowns. It's not just that he's being abusive toward these people (at several points physically). It's that the whole damn spectacle of it starts to feel pointless. The 'point,' of course, is that we're getting to watch a well-known star in a state of breakdown. And the tabloid perversity of 'Slauson Rec' is that even when he's acting out, being a total dick to these hapless people who have put their trust in him, the movie is busy turning his self-destruction into theater. Just when we think his abuse of poor Zeke can't get any worse, LaBeouf turns his attention to Sarah, a troupe member whose mother is sick. He starts to berate her, and after her mother has died he informs her that he wants her to stop playing the role in their play she's been playing, because he has decided that she's 'not right for the part.' In this meaningless shambolic parking-lot-theater mess? That he would say that is worse than harsh — to our eyes, it's sadistic. And it just makes us think: Why are we even watching this? I would wager that the commercial prospects for 'Slauson Rec' will fall somewhere between dim and zero. The filmmaking, which just drags on (with helpful titles like 'Day 56,' followed by 'Day 57'), saps the energy right out of you. Yet the movie has the clueless arrogance to present itself as a redemption narrative — not for the members of the Slauson Rec troupe, but for Shia LaBeouf. After he is hit with a legal accusation of domestic abuse, he simply abandons the troupe. He doesn't show up one day, and that's it, it's over. But the film ends on an interview with LaBeouf, conducted more recently, where he sits in a chair in the tasteful home he shares with Mia Goth and their child, and he goes back over the Slauson Rec experiment and admits that he'd gone off the deep end. He admits that his behavior was untenable, and that he had a 'God complex.' He now feels bad about all of it. LaBeouf delivers this confession with an eloquent conviction that's a little uncanny. But listening to it, you realize that one thing hasn't changed, and that it may be the most unnerving thing about him: He's still acting. Best of Variety The Best Albums of the Decade
