Freaky Tales has imagination and fun to spare

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The decision by writers/directors Anna Boden and Ryan Fleck to avoid categorizing Freaky Tales into a single genre is something that leaves studio marketers tossing and turning at night yet delights eccentric fans of genre cinema. This movie, serving as an ode to Oakland in the late 80s, keeps viewers guessing about its next move. It occasionally resembles Green Room, while other moments echo a Humphrey Bogart gangster film. Additionally, it draws on elements from horror movies and teen romance stories. Regardless of where this anthology film takes us, the outcome is often quite engaging.

Freaky Tales

In this production, we follow four intriguing stories unfolding within the span of a few days in Oakland, a city brimming with diverse culture, strong community bonds, and perhaps some eerie supernatural elements. The opening narration subtly hints at these otherworldly forces shrouded in green.

The first tale establishes Boden and Fleck’s Freaky Tales as a unique take on the genre, distinguishing itself from other popular 80s-inspired series like Stranger Things, It, and Ghostbusters: Afterlife. Instead of drawing inspiration from Amblin Entertainment classics, Freaky Tales proudly showcases movie posters for films such as Ishtar and music reminiscent of the Dead Kennedys’ soundtrack.

The opening story in this collection is a creative retelling, based very loosely on actual events, about Nazis attacking the punk rock sanctuary 924 Gilman Street. Following that, we have a narrative about two up-and-coming rappers who seize their opportunity to gain fame during an unforgettable rap battle one evening. Boden and Fleck’s anthology then moves on to a separate tale featuring Clint (played by Pedro Pascal), a tormented brute. The entire production culminates with “The Legend of Sleepy Floyd,” which tells the story of a group of Oakland criminals attempting to steal memorabilia from the homes of basketball stars, including Sleepy Floyd. However, they soon discover that they have targeted an iconic athlete who is not someone to be trifled with.

Without a hint of sarcasm, Freaky Tales won me over not only with its nod to Ishtar, but also with its striking visual style. Each tale is told through vivid and chaotic imagery that recreates the graininess of film and the artifacts of VHS tapes. What’s more, each story has a distinct aspect ratio, where the screen expands and contracts based on the narrative requirements. The opening segment, with its vibrant, anarchic hand-drawn animation, adds an extra layer to the live-action performances. On the other hand, Clint’s tale is visually more subdued, yet it’s punctuated by fast-moving animated accents that seem to have been pulled directly from a sketchbook.

The visuals of “Freaky Tales” have a unique charm and freshness, even the initial scene where the camera is jolted by an excitable audience member lends an authentic feel. Interestingly, the final basketball sequences are hand-drawn, which not only saves cost but also mirrors the style of the opening animated scenes. Boden and Fleck skillfully narrate these stories without any hint of cynicism or sarcasm. They seem more like traditional campfire tales, especially Clint’s deeply emotional narrative thread. Unlike other films that frequently reference their influences or mock their exaggerated aspects with witty comments as seen in “Heart Eyes”, “Freaky Tales” is not about name-dropping or undermining its outrageous elements. Instead, these creators are genuinely invested in the characters and their struggles, a commitment that’s contagious.

Admittedly, Boden and Fleck’s writing style is less polished than their skills in visual storytelling. For instance, the film Freaky Tales occasionally allows its characters to talk excessively. Although some dialogue-heavy scenes, like Clint’s encounter with a poker player, are entertaining, others made me fidget impatiently, yearning for the action typical of genre movies to return. Reflecting on it now, the main flaw in Freaky Tales lies in its rhythm. At times, the movie seems unrefined, as if it were a preliminary version that would be edited down after test screenings.

Without fail, similar to most anthology films excluding “Kwaidan”, “Freaky Tales” includes a predictably underwhelming segment. In this instance, the segment titled “Don’t Fight the Feeling” featuring up-and-coming rappers Entice (Normani) and Barbie (Dominque Thorne). This segment has its appealing aspects, such as Normani and Thorne’s fantastic chemistry, along with a nerve-wracking sequence where these two women are harassed at work by a man (Ben Mendelsohn). However, the plotline fails to deliver the additional dark or surprising punch needed to truly embody the “Freaky” in “Freaky Tales”. While the other stories venture into extreme territories, “Don’t Fight the Feeling” leans too heavily on predictability.

Instead, let me rephrase that for you: Despite the fact that “Freaky Tales” often leans towards the gruesome and eerie, it never fails to deliver on its cheesy promises. Fortunately, it’s not just about sensational violence and chilling plot turns (although they are quite effective in their own right). Pascal skillfully adds a sense of genuine sadness and physical suffering to Clint’s character. Indeed, Pascal is one of our most talented contemporary leading men. The grand finale, “The Legend of Sleepy Floyd,” stands out as a particularly captivating treat, thanks to its flurry of imaginative cartoonish violence and clever use of music. The practical effects for gory deaths in this storyline are simply fantastic, and would make Tom Savini envious. If the world were fair, Jay Ellis’s iconic costume from this segment would become a popular choice for cosplayers at comic conventions everywhere.

As a supporter, I’d say that “Freaky Tales” isn’t just another movie trying to cash in on 80s nostalgia, especially in the horror genre. Unlike some other films, it doesn’t simply imitate what’s already been done. Instead, it offers something uniquely its own, and it’s definitely not a carbon copy of “Totally Killer 2.0”.

What sets “Freaky Tales” apart is the focus on characters who have aged past their high school years. This allows the film to reference classic pop culture touchstones like “The Money Pit” and “The Warriors”, rather than having teenagers from the 80s reminiscing about “The Goonies”.

Moreover, grounding everything in Oakland’s unique cultural landscape gives “Freaky Tales” a distinct freshness that feels brand new. It’s not just another retread of old ideas; it’s a breath of fresh air in the horror genre.

Taking a trip back in time might resonate deeply with individuals who spent their youth in Oakland during the late ’80s. However, let me clarify that Freaky Tales is not merely an attempt to evoke nostalgia for its own sake. Instead, it’s a fantastic choice for popcorn entertainment right now. The unique artistic vision of Boden and Fleck has its flaws, notably in the excessive use of awkward dialogue and narration. Yet, their eccentric tribute to the places that shape us is teeming with creativity and fun. It doesn’t adhere strictly to one genre for long, which adds to its appeal. In summary, it’s quite a freakishly impressive feat!

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2025-04-14 20:15