Freaky Tales” (2024) is a movie that feels entirely unsuited for what cinema looks like in 2025, and it still would have felt antiquated had it not been held from release after its initial debut at the Sundance Film Festival in 2024. Although this anthology of Oakland crime stories takes place in 1987, its style is unquestionably influenced by the wave of 1990s independent films that used sharp dialogue and twisty storylines to engage in pulp sensibilities; the comparisons to be made with “Reservoir Dogs,” “Boyz n the Hood,” and “Trainspotting” are too innumerable to note.
However, the most glaring factor in “Freaky Tales” is how strange it feels as a theatrical experience. While there have been countless prestige miniseries from buzzy streaming services made in the last few years that could have been edited into much stronger films, “Freaky Tales” is the rare example of a narrative that would have been better suited for the small screen.
“Freaky Tales” hails from the directing duo of Ryan Fleck and Anna Boden, two talented indie filmmakers who’ve been absent from the big screen in the aftermath of the underwhelming response to their superhero origin film “Captain Marvel.” Boden and Fleck have shown expertise in crafting tight, calculated character studies about troubled protagonists, which still manage to relate to larger societal issues; “Half Nelson” offered a terrific breakout role for Ryan Gosling and still managed to examine the underfunding of public education, and “Mississippi Grind” was a classic two-hander that offered some real insight on America’s “winning” culture.
Boden and Flecks’ background in social realism makes it particularly odd that “Freaky Tales” is not interested in anything that would approach authenticity. While there’s nothing wrong with the production design or costumes meant to resemble Oakland in the summer of ‘87, the deliberate callbacks to specific popular culture of the era add a heightened sense of self-awareness. It may have been interesting had the film offered real commentary about the state of America during the Reagan era, but save for one key moment that hinges on a notorious sports controversy, the context of the setting is largely inconsequential.
Although it’s an obvious homage to “Pulp Fiction,” “Freaky Tales” opts to depict each of its stories as standalone segments, which only occasionally intertwine with one another. First, a young punk (Jack Champion) tries to win the affection of his crush as his squad battles a deranged group of neo-Nazi skinheads. This is followed by a side adventure in which two female rappers (Normani and Dominique Throne) attempt to preserve their friendship as they prepare for a major battle. Pedro Pascal shows up as a no-nonsense debt collector in the third segment, in which he’s forced to seek revenge after his family is threatened. It’s all capped off by a rousing final set piece where Ben Mendeloshn chews the scenery as a corrupt cop, and Jay Ellis offers a very unique interpretation of the legendary NBA star Sleepy Floyd.
Also Read: 10 Movies to Watch If You Like Pulp Fiction
These stories are only connected to each other thanks to a few crossover characters, as they otherwise may have worked better as standalone shorts. Even if this is a route that has worked in some films, such as the Coen Brothers’ “The Ballad of Buster Scruggs” and Jim Jarmusch’s “Coffee and Cigarettes,” “Freaky Tales” doesn’t really have enough time to elevate any of its narratives beyond the barest of concepts. It doesn’t help that they are largely stylized in the same manner, making it increasingly frustrating to start from scratch with a new group of characters.
While it may be a stretch to suggest that there’s a larger theme behind “Freaky Tales,” Boden and Fleck have certainly latched on to the idea of underdogs that take a stand for themselves when no one else would give them the time of day. Whether it’s a group of defiant punks beating up vile racists, two black women taking confidence in their artistic voice, a criminal avenging crimes committed against his wife, or a corrupt cop getting justice for his history of misconduct, there’s an evident focus in “Freaky Tales” of offering catharsis. Unfortunately, the film doesn’t paint a specific enough portrayal of any of these characters’ lives to make these conclusions fulfilling on anything other than the most primal level.
The most frustrating aspect of “Freaky Tales” is that there is potential within each of the stories to go deeper. The punk’s saga does a remarkable job at showing the way that this subculture grew out of a rejection to the status quo, but there is little time to explore the interiority of the characters’ lives when the film is so intent at rushing towards an action scene. Similarly, the strong chemistry between Normani and Thorne isn’t taken advantage of, as their section seems to close off just when it is becoming subversive.
Pascal’s storyline within the film is easily the best, and not just because he’s an actor who can do a lot with a very archetypal role. There’s a clear identification of his intentions, values, and crisis of confidence, allowing the most bare-bones of revenge stories to coast off of his dynamic screen performance. It’s the only section that seems to exist within a tangible world that could exist both well before and after the specific events that are depicted, and it also features an interesting cameo that adds a sense of momentum. The final section of the film is the most action-packed, but feels like a strange denmout given that none of the ultra-violence had previously been played for laughs.
It may have been easier to invest in the underground, dangerous edge of “Freaky Tales” had it felt like a legitimate independent production, but Boden and Fleck have clearly chosen this approach as a stylistic choice and not by virtue of circumstances. Despite how provocative the humor is intended to be, “Freaky Tales” is remarkably toothless for such an overt Tarantino pastiche. There’s nothing in “Freaky Tales” that is so woefully incompetent that it becomes unpleasant, as there’s not really enough substance to sustain that type of reaction. Nonetheless, “Freaky Tales” is ultimately a collection of underdeveloped concepts strung together for a diverting, if totally unmemorable experience.
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