Shia LaBeouf is a Lion at heart as he picks up groceries with wife Mia Goth
The one-time child star, 39, was seen picking up groceries at Erewhon with his wife Mia Goth before she heads to the UK to film her next movie.
Wearing a Detroit Lions T-shirt, shorts, sandals and a mesh ball cap, Shia's hair was closely cropped hair and he sported a bushy mustache.
The rare outing comes just weeks after a documentary about him allegedly being violent premiered at Cannes Film Festival and just a couple months before he is set to head to court with an ex-girlfriend.
Meanwhile, Mia is set to begin filming for an upcoming Star Wars spinoff alongside Ryan Gosling.
During their outing, she looked casual-chic in a white, long-sleeved top, which was cropped to show off her bare midriff, and bright yellow shorts.
She sported gray sneakers teamed with a black backpack and oversize sunglasses after stopping by the upscale grocery chain.
She was seen walking out with a grocery bag in hand and a bottle of green juice while her partner was walking hands-free.
Shia and Mia have been in an on-again, off-again relationship since 2012 when they first met on the set of the movie Nymphomaniac: Vol. II.
They got married in 2016 but briefly separated two years later before reconciling and welcoming their daughter Isabel in 2022.
He first rose to Disney Channel fame for his role as Louis Stevens on the hit series Even Stevens, winning a Daytime Emmy in 2003.
Afterwards, he transitioned to film and played the leading star of the hit family comedy Holes that same year.
He then went on to star opposite Megan Fox in the Transformers in 2007.
Shia and Mia's outing comes weeks ahead of his trial, scheduled for September, against FKA Twigs after the singer sued her ex-boyfriend in 2020.
Her lawsuit against him saw him charged with assault, sexual battery and infliction of emotional distress over the course of their nearly year-long relationship due to his 'relentless abuse.'
The pair had started dating after she was cast in his mostly autobiographical 2019 film Honey Boy.
He and Twigs, whose real name is Tahliah Debrett Barnett, dated from mid-2018 to mid-2019.
He initially responded and acknowledged her charges but has since denied the allegations.
Amid the scandal, he has stepped back from acting with only minor appearances sprinkled throughout the past few years.
In March, one of his latest movies Salvable was released, being the third movie he has appeared in since 2020.
In the past half decade, he has also made appearances in The Tax Collector and Pieces Of A Woman.
In May a documentary painting him in a once again unflattering light premiered at Cannes Film Festival.
First-time director Leo Lewis O'Neil's documentary, Slauson Rec, explores the experimental theater company LaBeouf previously launched in LA in 2018.
The new documentary included footage of him being violent with students, drawing from several years' worth of intimate video recordings he signed off on.
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The Guardian
28 minutes ago
- The Guardian
Turn the parody up to 11: the best spoof movies – ranked!
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A sturdily impassive supporting cast includes Cloris Leachman, Madeline Kahn and a cameo for Brooks's co-writer Barry Levinson. There have been so many spy spoofs and Bond send-up movies: Johnny English, Austin Powers and the first (non-canonical) Casino Royale from 1967 with David Niven as Bond. So, given that only one will have to stand for them all, here is Michel Hazanavicius's very closely observed and very funny spy spoof, riffing on the Bondian French agent Hubert Bonisseur de la Bath, created by French author Jean Bruce in the late 1940s – starring the excellent Jean Dujardin as the suavely handsome daredevil with a touch of Clouseau-esque incompetence. In what may come to be seen as the golden age of 80s' spoofs, Keenen Ivory Wayans produced his blaxploitation spoof, with the pedantically overextended title signalling its status as self-referential comedy. Wayans casts plenty of genuine titans of the blaxploitation world, including Antonio Fargas, Jim Brown, Isaac Hayes and Bernie Casey – riffing knowingly on the fact that black sports stars often graduated to the movies, although OJ Simpson was to appear in quite another spoof: the Naked Gun series. Kanti Shah's spoof version of the revered Bollywood action-adventure Sholay from 1975 – widely regarded as one of the greatest Indian films of all time – was cheeky and, to some, even a bit sacrilegious. The film uses lookalike casting, mirroring iconic stars such as Sanjay Dutt, and madly inflates the already grandiose plot, which involved a retired cop hiring two criminals to bring down a ruthless kingpin. This parody version rounds up a whole crew of reprobates. In any discussion of spoofs, there will always be debate about whether a certain film really counts as a spoof. When Python's Life of Brian first came out and was threatened with censorship by the religious right, the spoof argument was deployed in its defence – ie it's not an offensive attack on Christianity, it's a spoof of religious Hollywood epics. That's sort of true: the movie, starring Graham Chapman as the dozy bloke Brian Cohen who is mistaken for the Messiah in the time of Christ, used the locations and sets of Franco Zeffirelli's TV extravaganza Jesus of Nazareth, and its generic resemblance was part of what made it funny. The Scary Movie franchise and the comparably self-aware if not out-and-out spoofy Scream series were a big part of the mainstream horror revival at the beginning of the 00s. Wayans, with his habitual pile-'em-high attitude to gags, gives us references to Friday the 13th, Halloween, I Know What You Did Last Summer and many more. He cheekily plays up the genre's trope of attractive young teen victims somehow always put themselves in harm's way, epitomised by the demon in the Ghostface mask standing between two road signs pointing helpfully in different directions, SAFETY and DEATH, boiling down the slasher plot form to a single absurdist meme. A connoisseur spoof of 1940s noir detective stories, starring Steve Martin as the tough private investigator, directed and co-written by Carl Reiner, shot in black-and-white by Michael Chapman (who also shot Raging Bull) and accessorised with a gorgeously authentic musical score by Miklós Rózsa and costumes by Edith Head. Martin's character effectively speaks to the ghosts of the past as clips of old movies are intercut into the action, featuring the likes of Bogart, Cagney and Veronica Lake. Is that cheating in spoof terms? Maybe. But this is very well observed. 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In fact, the original spoof targets of Naked Gun are so dim and distant in the pop culture collective memory that Naked Gun has its own kind of originality. Leslie Nielsen (carrying on from his brow-furrowing turn in the classic Airplane!) once again sent up the boilerplate heroic persona that he used to portray quite seriously, playing Det Lt Frank Drebin, and that rich baritone voice was vital to the absurd comedy. Alan Parker's Bugsy Malone was a movie-musical that spoofed the Prohibition-era Warner Bros gangster-crime genre by simply casting the film's tough guys as children who hit each other with custard pies instead of shooting guns. However, Jodie Foster, appearing here in the same year as Taxi Driver, was so precocious that she was considered an honorary adult in an entirely different league from the innocent kids in the rest of the film. 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It stars his formidable co-writer, the martial arts action lead Michael Jai White as Black Dynamite, who swears to avenge his dead brother and takes aim at the complicit white establishment in Washington DC and the 'Honky House'. Sanders lovingly reproduces the paradoxically old-fashioned imperatives of blaxploitation, masculinity and heroism, which were being affirmed at a time when the white American new wave was undermining them. This is a screwball self-aware comedy, a crazy madcap romp that its ever-increasing number of fans believe is touched by genius. Originally a Broadway show, it's a spoof of Broadway romances such as Gold Diggers of Broadway and The Great Ziegfeld. Butit's also a spoof of cinema and of musical theatre as represented in cinema, and of showbiz generally: the forms, the conventions and the grammar of all these are lovingly foregrounded. Actors Ole Olsen and Chic Johnson (from the original show) play themselves in the midst of a chaotic swirl of misadventures concerning whether or not a certain stage show can work in the world of motion pictures. David Wain is a film-maker who spoofed sex comedies in his Wet Hot American Summer of 2001. But this is surely his masterpiece: a devastatingly realistic, rigorously maintained spoof of a mainstream romantic comedy, played with absolute conviction by Paul Rudd and Amy Poehler, with the New York locations, cinematography, production design and supporting cast that would be in the real thing. Rudd and Poehler are the couple who come together in the big city (which is itself a character in the movie, as in any self-respecting romcom), and the film takes us through a complete story, while always making us aware that it isn't a 'real' romcom – the effect is fascinating, amusing … and even slightly scary. Mel Brooks's outrageous spoof western was, in one respect, very unlike the classic westerns it was sending up: it had a black man in the leading role. Cleavon Little is the railway worker Bart, who is promoted to sheriff by corrupt and cynical forces who expect him to fail (and so Blazing Saddles is not unlike Brooks's The Producers). But Bart finds himself teaming up with boozy gunfighter The Waco Kid, played by Gene Wilder, a tough guy who is, of course, on the point of redemption in the classic manner. There are some sophisticated fourth-wall-breaking gags and very unsophisticated farting jokes. Do spoof films have to generate comedy? And if their object is more serious, does that mean they need the posher title of homage? Todd Haynes's romantic drama Far From Heaven is a spoof of Douglas Sirk pictures such as All That Heaven Allows and Imitation of Life: films about the passionate inner lives of women in 40s and 50s America. 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This is the highest plane (as it were) of pure spoof nirvana, marrying original gags to strictly observed satire and an unflinchingly deadpan delivery, symbolised by its most famous joke: 'Surely you can't be serious?' (You know the punchline, which brilliantly and economically enacts the repudiation of seriousness). The Abrahams-Zucker masterpiece is a brilliant, vibrant parody of the airline disaster genre, spoofing the Airport movies generally and anticipating Robert Zemeckis's later plane crash films like Cast Away and Flight. But it was in fact modelled with amazing closeness on one specific film: Zero Hour! from 1957 (by Arthur Hailey, who went on to write the Airport films), a melodrama that now cannot be watched except through a glaze of delirious disbelief. It was a masterstroke of Abrahams and the Zuckers to get veteran actor Leslie Nielsen to play the heroic lead in exactly the same straight-faced, resonant way as he would have if he was in the original – and the same goes for troopers such as Robert Stack, Lloyd Bridges and Peter 'Mission: Impossible' Graves. Genius.
Daily Mail
28 minutes ago
- Daily Mail
Venus Williams reveals why she really returned to tennis... after celebrating engagement with comeback win
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The Independent
an hour ago
- The Independent
AI-themed film to depict drama at Elon Musk company
Ike Barinholtz is reportedly in talks to portray Elon Musk in a new film titled Artificial. The AI-themed film, directed by Challengers director Luca Guadagnino, is being produced by Amazon-MGM studios. Early reports suggest the movie will depict the tumultuous period at OpenAI in 2023, when CEO Sam Altman was briefly fired and rehired. Elon Musk co-founded OpenAI, which is now best known for ChatGPT, in 2015 but later expressed concerns about the company's direction and the effects of its technology. The cast is also said to include Yura Borisov, Andrew Garfield, and Cooper Koch, with the script written by Simon Rich.
