Shia LaBeouf : Freestyle Rapper

Shia LaBeouf : Freestyle Rapper

It seems we have now entered the WTF phase of Shia LaBeouf’s mystifying-yet-fascinating career.

In a video going viral, LaBeouf delivers a freestyle rap comparing himself to Tupac. It’s only the latest in a long line of odd behavior from the former Disney star. 

The 29-year-old who got his start collecting Daytime Emmys for his turn as a Dennis the Menace-like troublemaker on the Disney Channel’s Even Stevens has, through a series of Hollywood misadventures and psychedelic drugs, evolved into something of a modern-day renaissance man; a mini James Franco (if Franco spent less time taking selfies and more time tripping balls and causing mayhem).

LaBeouf’s latest offering to the online gods is a particularly potent shred of cultural mana: a minute-plus video of Transformers star freestyle rapping, his unmistakable rat-tail slung over his shoulder. In the video, the shirtless actor appears to be entertaining a group of amused/bewildered teenagers with his heretofore unseen emcee skills.

“You can’t really fuck with this, dog, I’m the best in the west and shit /
If you could give me this shoe, yo, you know the shoe fits and this Jew do spew shit and the shit’s sick /
Oh shit, best to do this since Tupac was doing music /
Yessir, this Jewish kid still spew this sick shit, though.”

This video, of course, comes on the heels of another one-minute, meme-ready video wherein a jacked-up LaBeouf delivered what can only be described as one of the most intense and confounding motivational speeches ever, replete with plenty of flexing, pointing, and yelling, “DO IT!”

Other strange recent happenings in the Life of LaBeouf include his former neighbor, Brandon Bird, who painted LaBeouf as all 13 Doctor Who doctors. He’s also become a pretty method-y actor these days, including guzzling moonshine and scrapping with Tom Hardy during the filming of Lawless; dropping acid for Charlie Countryman; going full-frontal in Lars von Trier’s Nymphomaniac; and earlier this week, suffering a massive head injury requiring 20 stitches and 13 staples after demanding to perform his own stunt while filming American Honey, directed by Andrea Arnold. 

And lest we forget his plagiarism controversy and subsequent bizarre L.A. art project #IAMSORRY, where he let attendees join him in a room and stare at LaBeouf in silence, clad in a suit and with a paper bag over his head. Our reporter removed the bag to reveal a sobbing LaBeouf, while the actor claims that a more aggressive patron took it upon herself to rape him.

Last May, he continued his performance art shtick with the project Meditation for Narcissists, which he put on at London’s Auto Italia South East. It entailed LaBeouf jumping rope for an hour via Skype, and encouraging those in the audience to take ropes provided by the gallery and jump along with him, or in his words, “join me on my quest to find my inner self.”

The following month, that would be June 2014, LaBeouf was arrested after acting drunk and disorderly, yelling at the stage during a performance of Cabaret at New York’s Studio 54 Theater. He refused to leave, and was hauled off by police—who claimed in the arrest report that he spat on them.

Earlier this year, he joined dance sensation Maddie Ziegler for the riveting music video to Sia’s “Elastic Heart,” featuring LaBeouf and Ziegler interpretive cage-dancing to reflect a contentious father-daughter relationship.

Interestingly enough, LaBeouf’s first name, Shia, is derived from the Hebre shai Yah, which translates to “gift of God.” His last name translates to “The Beef.” So, you can translate his full name to, “Thank God for the Beef.”

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George Clooney in "Tomorrowland"

George Clooney in "Tomorrowland"

 George Clooney's new futuristic fantasy drama Tomorrowland, directed by Brad Bird ("Ratatouille," ;"Mission Impossible: Ghost Protocol") has all the promise of an inspiring story -- but it's gotten less-than-inspiring reviews ahead of its opening weekend.

Originally drawing enthusiasm from critics such as David Edelstein of New York magazine, who had claimed "'Tomorrowland' is the most enchanting reactionary cultural diatribe ever made," recent remarks are a little more restrained in their praise.

 "The forces of mediocrity have largely prevailed over 'Tomorrowland,' a kid-skewing adventure saga that, for all its initial narrative intrigue and visual splendor, winds up feeling like a hollow, hucksterish Trojan horse of a movie -- the shiny product of some smiling yet sinister dimension where save-the-world impulses and Disney mass-branding strategies collide," said Justin Chang of Variety.

The sci-fi adventure follows the travails of Casey, a renegade scientific genius played by Britt Robertson, who stumbles on a portal into another dimension in where she discovers "best and the brightest" have gathered to solve the world's problems with rockets, robots and flying cars in a society styled in something of the aesthetic of the capital city in "The Hunger Games."

Clooney plays Frank Walker, a reclusive scientist who had withdrawn from the world after his disheartening first encounter with Tomorrowland, but who reluctantly joins Casey as her cohort in their expeditions. Along the way Casey and Frank find Nix, played by Hugh Laurie, one of the questionable masterminds of Tomorrowland's architecture.

The film's concept of an advanced society hidden in a parallel dimension came from Walt Disney's vision of a futuristic society that went into the design of their 1955 Tomorrowland attraction at Disney World which eventually evolved into Epcot Center.

"We were always guided by Walt's original plan for Epcot: an actual 'experimental prototype community of tomorrow,' an ever-evolving laboratory to develop ideas that would improve the world," co-screenwriter Jeff Jensen told Entertainment Weekly.

Director Brad Bird told Rolling Stone the Disney-produced project was shaped by Steven Spielberg awe-striking fantasy adventures such as "Close Encounters of the Third Kind" that poetically bridged science fiction with heart and wonder.

Critic's are not quite as dazzled by Bird's magic and its message about creativity and activism as a number of them have remarked that the movie is more "pedantic" than poetic.

The New York Times' A.O. Scott said "there are some logical -- and, I dare say, some ideological -- contradictions here, and a more serious problem of tone. The filmmakers want to dazzle you, but they also want to teach you a lesson."

"Tomorrowland looks less like a magical city of the future, or even the Disney environment it's meant to evoke, than like an unusually clean and efficient airport, or the shopping mall beyond the multiplex where you're seeing the movie," Scott said.

The problem, it seems to a number of reviewers, is that the movie ends up trying too hard to deliver a message about imagination, and less demonstration of it through its own artistry.

"Instead of dialing up the fun, the filmmakers piled on with the lecture," Richard Roeper of the Chicago Sun-Times reviewed.

"In the last few minutes of this movie I was reminded of my days as a student, when the semester was over and it was the last day of school, and the teacher was still lecturing us as the final bell rang. Enough. We get it. We need to do better. Now can we get back to the flying cars?"

Cr.CBS News