The documentary "Slauson Rec" starring Shia Labeouf and his psychological trauma is not a good movie. But it's a timely artifact of something the movie is now confronting - a pathological and vampire celebrity culture that drives all the air out of the room. In 2018, Labeouf posted a video on Twitter, announcing that it would hold a free weekly theatre workshop every Saturday at the Slauson Entertainment Center in South Central Los Angeles. Labeouf's name magnet attracted hundreds of people to appear. One of them is Leo Lewis O'Neil, a young man who is not interested in being an actor but volunteers to record the workshop on the camera. Over the next three years, he filmed hundreds of hours of Labeouf footage and his followers doing things about the experimental theater, writing and rehearsing several "dramas" they introduced in a nightclub, and ending up in a dusty parking lot.

O'Neil brings together the film from this video that premiered last night in Cannes, a tough and undisciplined work in any real world standard. "Slauson Rec" is two and a half hours long, and it is nothing more than an endless and seductive diary-like stroll. However, it is also an effective exploitation film, because the only interesting thing in it is watching Shia Labeouf Parade as a performer and mentor, just fall into a place that is increasingly angry, abusive and atheistic, leaving us with a profound problem:

Let's be clear: Shia labeouf is not only A person who needs anger management therapy. He is a very talented actor (I remembered this a few weeks ago when I reviewed his powerful performance in the David Mamet film Henry Johnson), and he is also the definition of a charismatic person. In "Slauson Rec," you can't look away whether he is supportive or timid. He stared at the intensity of the burn and the performance ability beyond bluntness, which was of this quality. (He also likes a sports hair preference, which looks like he comes out of a clothing store.) In the documentary, he always existalways based on everything he has, firmly believed that he was the most arrested person in the room.

Early on, we gave him the benefit of doubt because he seemed to be using his charm in a generous way (voluntary time to inspire a group of people in the south-central region). His turbulent performance coaching performance felt like part of the tradition, stretching all the way to Lee Strasberg and Stella Adler and blending the exposeristic spirit of all-in-one performances, something that is kind enough to define experimental theatre action in the late 60s and 70s. As Labeouf explains, the Slauson Rec Theatre experiment is an attempt to gather people and provide them with clubs, communities, art labs, families. In the desire of participants to go with anything Labeouf said, we feel that they must belong to the urgent hunger. Labeouf is more than just showing them how to act. He gave them hope.

From the beginning, though, you might wonder what exactly he was going to achieve creatively. He talks about a good game like a cult leader of the drama, but he asks participants to do "designed theaters" which after a while seems to boil down to a ritual group beating and orchestrating aerobic exercise. It seems they are doing a series of carefully planned warm-up exercises, and in the early days, they are just when they know each other. But once they went through several months, it began to make it clear that Labeouf really had no plans. He just used his shocking psychological performance coaching term and tough love "I do it for you!" and he just threw things on the wall. Personality turns anything into a "meeting meeting." Given that these are not professional actors, and even (in most cases) eager to be, Rabuff is full of intensity for their words, deadly seriousness, Jaber's remarks about empathy and self-centeredness, which makes one feel overly high and inappropriate.

That's forward He started blowing his fuse. Once the pandemic hit, the Slauson Entertainment Center threw the group away (at this time they had melted about 50 people), surrounded by chain chain fences in an anonymous Dusty parking lot, rehearsed with masks in an anonymous dusty parking lot, and rehearsed with two tables under a red tent. This place became their Sunshine Prison (and ours). From what we've seen, they've played a "game" like a glorious hip-hop night. Now, they are writing and rehearsing the follow-up, some kind of multimedia action drama work titled "5711 Avalon," even though the film never gives us an idea of ​​what it is combined with.

However, the more sketchy the Slauson Rec Troupe becomes, the more Labeouf captures the notion that members live up to what they should do. them Disappointing He (but it's just because he cares a lot). He aims at a member, a 22-year-old Zeke, who seems to be the cutest guy, and Labeouf starts to torture him like a practice sergeant, and he picks his patsy. He said, "Man, don't play that fucking James Dean." He also said, "If you make my life better, I love you. If you make my life worse, I don't love you. That's how I built it!" and "This is really the final improvement! You really need to pay attention to this shit!" "I said giggleWhat the hell do I say is what the hell did you do? ”

Labeouf declares in the movie that he is an alcoholic who at some point talks about himself always beating himself in his brain. But this is not reassuring. He took off his shirt a lot, revealing the chest tattoo wall of the movie "Tax collector" he received, and we start to notice that he kept shouting and shouting as if the fate of the world was hanging on the person he could effectively catch the ragtag. However, we can’t even tell the difference between them doing well or not doing well.

That's part of the rant at Labeouf, his tantrum and his breakdown. Not only is he insulting these people (a few points on his body). Its whole wonder begins to become meaningless. Of course, the “must point” is that we want to watch a well-known star in a state of collapse. The tabloid pervert of “Slauson Rec” is that even if he shows it, it’s the dick of these unfortunate people, who have trusted him, and the film is also busy turning its own self-destruction into a theater.

Just when we think his abuse of poor Zeke wouldn't get worse, Labeouf turned his attention to Sarah, whose mother was sick. He started raising her, and after his mother passed away, he told her that he wanted her to stop playing roles in the games she had been playing because he decided she was “not suitable for that.” In this pointless Sham-style parking theatre, a mess? He would say it's worse than being harsh - in our opinion, it's sadistic. This just makes us think: Why do we still look at this?

I bet the business prospects of "Slauson Rec" will be somewhere between DIM and zero. The film production just delayed (a useful title like “Day 56”, followed by “Day 57”), reducing energy. However, the film has ignorant arrogance that can view itself as a narrative of redemption, rather than a member of Slauson Rec Troupe but rather a member of Shia Labeouf. He simply gave up on the regiment after he was accused of being attacked by law. He didn't show up for a day, that's all. But the film ended with an interview with Labeouf, who recently sat in a chair in a tasteful house shared with Mia Goth and their kids, returned to the Slauson Rec experiment and admitted that he had left the depths. He admits that his actions are untenable and that he has a "God's complexity." Now, he feels sad about it. Labeouf offers this confession with an eloquent belief, which is incredible. But hearing it, you realize that one thing hasn't changed, and that's probably the most disturbing thing about him: he's still doing it.