Jay Rohr
Freaky Tales bristles with 1980s aesthetics. From its neon-grid opening text crawl to cigarette burns, there’s a VHS-era essence to this anthology film. Plenty of care clearly went into the look of the movie alongside an appealing pulp fiction vibe. This could have been a cult classic if the narratives didn’t hit some ankle-cracking obstacles. As a consequence, Freaky Tales is a mixtape constantly unraveling in the tape deck.
The premise involves four underdog tales set in Oakland, California circa 1987. Apparently, only those around back in the day really remember the strange green light that permeated the atmosphere. As such, viewers are plunged into a struggle between a punk rock community defending themselves from neo-Nazis skinheads. Then there’s the two young ladies thrown into the burgeoning world of rap battles, the criminal cash collector and bone-cracker on his last job, followed finally by a vengeful basketball star on a martial arts murder spree.
To a certain extent, each is an interesting idea on its own. Part of the problem is that Freaky Tales often feels like four short films with a poorly tacked on frame story. The loose thread connecting each feature is frayed or inconsequential. Even the few instances where things seem laced up tightly add very little to the overall narrative other than contrivance to move the plot forward.
Freaky Tales does have a certain degree of stylized hyperviolence. Anyone wanting to watch racists get split open like paint filled piñatas, this movie is right up that alley. But at the risk of seeming pedantic, the title implies more supernatural elements than the film actually contains. The eerie green glow that supposedly saturates the city presents itself as an occasional flash of emerald lightning or a verdant glint in an angry glare. However, most of the movie is surprisingly grounded despite being called Freaky Tales.
Although the film possesses a degree of other world extremity, this is closer to pulpy crime fiction than the likes of Tales from the Hood (1995) or Crypt. The second feature doesn’t even veer far from reality except for an inexplicable ending I’m vaguely tempted to call an homage to Repo Man (1984). Even then, whether that’s accurate or not, what happens comes completely out of left field. Worse, it results in nothing—zero setup and no aftermath making it utterly pointless.
Overall, none of the chapters really work as pieces of a larger story. The result is an expectation that ultimately falls flat. Other than underdogs rising up, Freaky Tales doesn’t really generate much thematically. Yet, the film feels like its building to some point it never arrives at.
The narrative failings of Freaky Tales are a real shame considering the largely impressive aspects of its cinematography and production design. Background details, especially theater marquee, go a long way to keeping the temporal setting alongside story elements peppered throughout. Visually, the movie has a smoky, neon saturated quality reminiscent of the 80s VHS era. Additional graininess and cigarette burns have been added to give the right appearance. There is a vibe to this movie that captures the essence of an era without being outright nostalgia bait. Freaky Tales often feels like a feature that could have been made in the eighties, or, given its wonderful representation of ethnic diversity, a motion picture one wishes was made in that decade.
Filmmakers Anna Boden and Ryan Fleck have an excellent cast at their disposal. There isn’t a weak link in any chapter. Ben Mendelsohn (Rogue One) is expertly loathsome as a corrupt cop. Ji-Young Yoo (Smoking Tigers) provides a fierce punk fighter with a tender family side. Dominique Thorne (If Beale Street Could Talk) has solid chemistry with singer Normani as the latter steps into acting; both providing confident young ladies overcoming their nerves to rise above. Pedro Pascal (The Last of Us) is so perfect in his role that character deserves his own movie. Freaky Tales even contains a remarkable cameo that easily joins the list of not only the most unexpected but excellent appearances, providing an exceedingly rare mention of Breaking Away (1979).
Unfortunately, none of this makes up for the lackluster anthology concept. Freaky Tales is a lot like a mediocre meal at a middling Chinese restaurant. It isn’t bad, but you know there’s some place better, and a half hour later you want more, though not the leftovers from here.
Cinematically, Freaky Tales is a wonderful simulacrum of 80s stylization. In that respect, it joins the likes of Maxxxine (2024) for its attention to visual aesthetics. If that devotion to detail only extended to the narrative, this could have been a tightly constructed cult classic. Furthermore, it squanders a prevailing eerie atmosphere that ultimately amounts to nothing. The tales just aren’t that freaky, or maybe I’ve just seen too many things I can’t unsee.
Instead, Freaky Tales is four poorly connected short films which are entertaining but never build to anything. Sadly, it’s simply not enough that the underdogs win, especially when such an outcome seems obvious. The whole film can be summed up with a minor spoiler. Victorious punks return to their communal HQ to rock out to the most mediocre rendition of Black Flag’s “Rise Above” ever inflicted on ears. It’s not terrible so much as clearly not as good as it could have been.
Still, solid acting carries most of these short films. Pedro Pascal would almost make this worth seeing just for him if his storyline ended better. Viewed separately, ignoring the failed frame story, some of the chapters are alright. Freaky Tales is that rare instance where the parts are worth more than their sum total.
