‘Slauson Rec’ Review: Shia LaBeouf Inspires Wannabes — and Frequently Turns on Them — in an Intimate Chronicle of His Theater Experiment

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Slauson Rec, derived from numerous years of private video recordings of an avant-garde theater group, delves sincerely into the concept of collaborative imagination. It also marks another installment in the Shia LaBeouf narrative, a tale that has garnered both professional accolades and tabloid attention. Despite not being the documentary’s writer, Shia LaBeouf is the mastermind behind the project it portrays. One might label him the visionary or the driving force.

Newcomer director Leo Lewis O’Neil, responsible for the cinematography, was among the 200 individuals who reacted to Shia LaBeouf’s 2018 Twitter video announcing a free weekly theater program at the Slauson Recreation Center in South Los Angeles. The majority, similar to O’Neil, were enthusiastic fans of the actor, who was then between film projects and had an unusual creative urge to fulfill. Unlike his peers, however, O’Neil wasn’t keen on acting but eagerly offered his assistance as an archivist for what LaBeouf would later characterize as a “social science experiment.

Derived from videos Lewis captured over a span of seven years, with the majority taken during the school’s three-year operation, Slauson Rec documents the ups and downs, the unpredictable energy as friendships develop, ideas sprout, and strangers venture together. Lewis witnessed the struggles and triumphs, the excitement when things worked out and, more frequently, the deteriorations. As time passed, he found himself right in the middle of a gradual disaster scene.

A large part of the movie unfolds with LaBeouf, showcasing his volatile nature, spiraling out of control. He rants, he becomes angry, and he storms away. On a few instances, he physically confronts members of the group. However, this isn’t just about sensational moments. It appears to be a deeply personal account for Lewis, who was new in Los Angeles and lonely when he joined the community center and found not just an activity but a family. He closely observed the group’s interactions, trying to decipher what motivated their leader. He might even aim to help him overcome his negative influences. The main events are framed by an interview with a more experienced LaBeouf, now married with Mia Goth and acknowledging the “god complex” that led him to inflict pain for his artistry.

In a less dramatic way, one could say that LaBeouf’s apology contains a touch of exaggeration when he labels the consequences of his actions as “fascistic.” Additionally, the lengthy duration of the documentary – approximately two and a half hours – could be seen as reflecting LaBeouf’s overestimation of the importance of his Slauson Rec Theater Company.

Nevertheless, this movie isn’t monotonous at all. It’s skillfully filmed and meticulously edited, with a dynamic flow. The intensity that LaBeouf exudes in his acting permeates almost every scene in the film. Whether he’s filled with rage or expressing joy, his charisma and expressive physicality make him difficult to look away from, almost always. However, the dramatic departures begin to lose their impact after a while. There are quite a few of them, particularly during rehearsals for 5711 Avalon, the groundbreaking pandemic-era project that would be Slauson Rec’s most significant and final production.

Redesigning Slauson Rec as a two or three-part cable docuseries could make it more engaging and appealing. Instead of dwelling extensively on the backstage conflicts, incorporating more details about the multimedia production 5711 Avalon could provide a fresh perspective, serving as an alternative to repetitive instances of behind-the-scenes drama. (It’s not far-fetched to envision some of these conflicts being used in future episodes of Documentary Now! That’s a compliment.)

Bobby Soto and Donte “Bo” Johnson, who crossed paths with LaBeouf during the filming of The Tax Collector, were partners in the theater company that LaBeouf co-founded. However, there’s no denying that he is the ultimate leader, the very essence of it all. Just as the captivating rebel John Cassavetes did decades ago, LaBeouf invested his own Hollywood earnings into a Los Angeles theater venture. Unlike Cassavetes, who had renowned actors in his company, LaBeouf’s group initially lacked such stars, and it was some time before he shifted his focus towards scripted performances.

During the initial stages, I found myself immersed in an extraordinary journey of devising theater through physical movements, with an emphasis on spontaneous creativity and collaboration. As some individuals sought traditional acting lessons and moved on, those who remained were filled with a palpable energy and anticipation as we prepared for our first public showcase. Shia LaBeouf expressed his enthusiasm, claiming it to be one of the best experiences he’d ever been a part of. In an interview from his hilltop abode, he underscored his craving for collective creation. However, it wasn’t long before constructive criticism intermingled with his encouragement. Notably, one of his major outbursts occurred on a day when he admitted to skipping several AA meetings that week.

Previously, LaBeouf’s five-minute opening speech at their initial gathering revealed a story marked by outsider experiences, trauma, alcoholism, and recovery – a familiar tale for those who have watched Honey Boy, the autobiographical film he wrote and acted in. This movie, produced and released around the same time as his Slauson Rec project was developing, focuses on LaBeouf’s tumultuous father-son relationship. Now, under Lewis’ watchful gaze, we witness LaBeouf transforming into a volatile father figure, one who sets conditions for love and berates the group with angry reminders of his generosity. “I’m doing everything!” he exclaims in response to unsatisfactory read-throughs.

As an ardent admirer, I’ve got to share some insights about Shia LaBeouf’s latest project, “5711 Avalon.” Beyond the growing turbulence surrounding him, there’s a palpable tension within our collective team regarding our role in the local community – a pressing matter for artists, especially in a nation grappling with severe economic inequality. The pandemic’s arrival only served to highlight this disparity without offering any meaningful solutions. Yet, LaBeouf & Co. dared to tackle it head-on with “5711 Avalon.”

Born out of the pandemic and deeply rooted in its reality, this play is set within a COVID testing site. With earnings from Hollywood stardom at our disposal, we chose to shine a spotlight on frontline workers – the unsung heroes amidst the chaos. Rehearsals took place in a South L.A. parking lot, and when it premiered in October 2020, celebrities like Jaden Smith and Sean Penn joined us for this unique drive-in performance experience.

O’Neil focuses on three actors who become targets for LaBeouf’s verbal attacks: Sarah Kaplan, Sam Walker, and Ezekiel “Zeke” Pacheco, a promising actor from South L.A., who lands a role in Netflix’s On My Block while still being dedicated to the play. Amidst the tension and unpredictability of the pandemic, LaBeouf is both masked and volatile, his explosive outbursts a jarring blend of self-awareness and lack of restraint.

Despite not being a performer himself, O’Neil is a fully integrated and well-respected member of the troupe, and the time he spends away from rehearsals with Kaplan and particularly Pacheco, providing glimpses into their families, stems from deep affection. During one of LaBeouf’s outbursts in the parking lot, O’Neil focuses on a child in the adjacent backyard, watching through the fence with fear and wonder. The film suggests that the director wishes he could escape this adult drama just as easily. However, Slauson Rec is characterized by gratitude and love as much as it is by pain and bewilderment. When he aims his camera at the man who bought it for him, he sees someone stumbling towards grace.

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2025-05-18 23:26