‘Slauson Rec’ Review: A Documentary About Shia LaBeouf’s Acting Class — and His Anger Issues — Is More Appalling Than Fascinating

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Titled “Slauson Rec,” the documentary featuring Shia LaBeouf and his mental struggles is not an enjoyable film. However, it serves as a poignant reflection of one of the challenges facing modern cinema – a ravenous and exploitative celebrity culture that often overshadows genuine talent. In 2018, LaBeouf announced on Twitter the establishment of a free weekly theater workshop held every Saturday at the Slauson Recreation Center in South Central Los Angeles. The event attracted hundreds of participants, drawn by LaBeouf’s fame. Among them was Leo Lewis O’Neil, a non-aspiring actor who chose to document the workshops on camera. Over the following three years, O’Neil captured hundreds of hours of footage showcasing LaBeouf and his followers as they engaged in their experimental theater performances, scripting and rehearsing several plays that were later performed in a nightclub and eventually in a barren parking lot.

The film assembled by O’Neil from this footage, which was screened last night at Cannes, can be quite bluntly described as a disorganized and unrefined production by any reasonable standard. “Slauson Rec” spans over two and a half hours, and it largely resembles a dreary, aimless monologue. However, it also serves as a documentary exploiting the sensational, as the most engaging aspect of it is observing Shia LaBeouf’s self-proclaimed acting tutorship, which gradually deteriorates into a state of escalating anger, abuse, and instability that leaves viewers asking, “What on earth is happening here?

It’s important to clarify: Shia LaBeouf isn’t merely a person requiring anger management; he’s an exceptionally talented actor, as demonstrated in his intense performance in “Henry Johnson” by David Mamet. He possesses an undeniable charm that keeps you captivated in “Slauson Rec,” regardless of whether he’s being supportive or aggressive. His gaze is fiery, and he delivers a brutally honest, attention-grabbing stage presence that stems from his intensity. (He also has a habit of sporting facial hair reminiscent of costume shop props.) In the documentary, he always seems to be in the spotlight, making everything about himself, with an unshakable belief that he’s the most captivating individual in the room.

Initially, we afford him the assumption of good intentions as he appears to be using his charm selflessly (by donating his time to motivate a group in South Central). His flamboyant acting coach style seems reminiscent of past figures like Lee Strasberg and Stella Adler, blending elements from the expressive era that characterized acting as personal growth, stemming from the avant-garde theater movements of the late ’60s and ’70s. According to LaBeouf’s explanation, the Slauson Rec theater project aims to unite people, providing them with a social club, a sense of community, an artistic workshop, and even a makeshift family. The enthusiasm of the participants in following LaBeouf’s lead reveals their deep-seated desire to find belonging. LaBeouf is not merely teaching them acting techniques; he’s offering them hope.

Initially, you might question the artistic goal he aims to achieve. He speaks persuasively, similar to a charismatic cult leader, yet his methods appear to revolve around group body movements and synchronized aerobics, which after some time seem more like rituals than actual creative endeavors. In the initial stages, it’s understandable as participants are getting acquainted with each other. However, when they’ve been engaged for months, it becomes evident that LaBeouf lacks a structured plan. He seems to be experimenting randomly, using his dramatic acting-coach vocabulary and tough-love attitude to transform every activity into a “session.” This raises concerns, given most of the participants are not professional actors or even aspiring ones. His words, filled with intense discussions about empathy and ego, can feel exaggerated and out of place in this context.

Prior to their emotional breakdown, I found myself captivated by this dynamic ensemble. However, once the pandemic struck, the Slauson Recreation Center evicted them (leaving only around 50 individuals), and they were left rehearsing in a desolate, dusty parking lot under the scorching L.A. sun, enclosed by a chain-link fence and shaded by a red tent with just two tables. This forsaken space transformed into their sunlit jail cell, and ours as well, as we delved deeper into their story. They had previously staged one performance, which resembled more of a high-energy hip-hop open mic night than a traditional play. Now, they were penning and rehearsing a sequel – a multimedia action-theater piece titled “5711 Avalon.” Regrettably, the movie fails to provide a clear understanding of what this production entails.

Despite the loose structure and unclear purpose of the Slauson Rec troupe, LaBeouf increasingly feels that the members aren’t meeting their expectations. He’s disappointed, but only because he deeply cares about their success. Focusing on one member in particular, a 22-year-old named Zeke, who appears kind-hearted, LaBeouf starts acting like a tough drill sergeant singling out his target. He tells him, “Don’t pull that James Dean act with me, buddy,” and makes comments such as, “I only love you if you improve my life. If you make it worse, I don’t love you. That’s how I am built.” Additionally, he emphasizes the importance of their work by saying, “This is the final polishing! You really need to pay attention to this,” and expresses frustration by asking, “I said ‘giggle’! What version of what I just said did you respond with?

In the film, LaBeouf confesses that he’s an alcoholic and describes his constant inner struggle. However, this doesn’t exactly instill confidence. Throughout, he frequently removes his shirt to reveal his extensive chest tattoos from “The Tax Collector” movie. What stands out is his persistent shouting, as if the world’s destiny hinges on his ability to direct this motley crew convincingly. Interestingly, it becomes hard to discern whether they’re performing well or poorly.

What makes LaBeouf’s outbursts unsettling is not just his abusive behavior towards others (and at times, it becomes physical). It’s also that the entire spectacle seems meaningless. The purpose, or “point,” of these incidents is for us to witness a famous celebrity in distress. However, the peculiar aspect of “Slauson Rec” is that even during his erratic behavior and being unnecessarily rude to those who trusted him, the movie is converting his downfall into a performance.

When we believe Shia LaBeouf’s mistreatment of Zeke couldn’t get more appalling, he shifts his focus onto Sarah, a fellow troupe member whose mother has fallen ill. Instead of offering comfort or support, he verbally abuses her. After her mother’s passing, he demands that she quit playing the role in their production she had been portraying, claiming she isn’t suitable for the part. In this haphazard and disorganized outdoor performance setting? His decision to do so is not just cruel – it seems downright sadistic. And it leaves us questioning: What on earth are we watching here?

It’s my guess that the business potential for “Slauson Rec” is likely slim to none. The film’s slow-paced narrative, marked by titles like “Day 56” and “Day 57,” leaves viewers feeling drained. However, the movie audaciously attempts to portray itself as a tale of redemption – not for the Slauson Rec crew, but for Shia LaBeouf. Following allegations of domestic abuse, LaBeouf abruptly departs from the troupe without notice and never returns. The film concludes with an interview featuring LaBeouf, conducted more recently, where he sits comfortably in his shared home with Mia Goth and their child. In this interview, he reflects on the Slauson Rec experience and acknowledges his erratic behavior, admitting to a “God complex.” He now expresses remorse for his actions. LaBeouf delivers this confession with a persuasive sincerity that’s slightly unsettling. Yet, upon listening to it, you come to understand that one thing remains constant – and it may be the most disconcerting aspect of him: He’s still performing.

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2025-05-19 15:17