Directors: Anna Boden and Ryan Fleck
Writers: Anna Boden and Ryan Fleck
Stars: Pedro Pascal, Ben Mendelsohn, Angus Cloud
Synopsis: Four interconnected stories set in 1987 Oakland, CA. will tell about the love of music, movies, people, places and memories beyond our knowable universe.
After making the $1 billion dollar grossing Captain Marvel, the filmmaking duo of Anna Boden and Ryan Fleck have returned to their indie roots. And it’s almost immediately apparent that they did, in fact, come to play. Their latest film, Freaky Tales, is consistently chaotic, but has a very distinct through line that works wonders for the film as a whole. Set entirely in Oakland in 1987, the film is broken up into 4 chapters, all of which deal with their own slew of characters and establishments that they clash against. Tying it all together is the distinct adoration and respect for Oakland culture, while never shying away from the uglier truths and oppressive forces that existed during the time. There are Nazis present, alongside corrupt, perverted cops, and much more that fuels the entity known as “The Man”. Having been raised in Oakland, Fleck brings a realistic depiction of what makes the city so unique, even if the film often dives shouting headfirst into the realm of pulpy shlock. For fans of filmmakers committing to a bit, this will be a surefire hit. It’s deeply indulgent to say the least, and, in my humble opinion, contemporary cinema needs more filmmakers taking bombastic swings after making a billion dollars for the biggest studio in history.
The film opens with a narrative crawl that feels deeply reminiscent of Little Shop of Horrors. In all honesty, the comparisons extend far beyond just the opening moments. Importantly, the Off-Broadway classic is perhaps one of the greatest examples of an underdog story. With Freaky Tales, Boden & Fleck fit four underdog tales into one. Does that make it the greatest underdog film of all time as an insane cameo in the film debates? Perhaps not in hindsight, but in the moment, it certainly does feel like it’s the case. The reason being is that so consistently do the filmmakers put their underdog characters against the previously mentioned scum of the earth: Nazis, misogynists, perverts. So often does the film place its heroes against the corrupt establishments which prop up hatred and villainy and allows them free reign among Oakland. In a situation like the ones presented, how could anybody not root for maximum payback? Lucky for audiences, this occurs four times over before the film comes to a close.
The four chapters of Freaky Tales occur roughly over the course of the same day and a half. The first chapter follows a band of punk rock fans who frequent their local watering hole for moshing and lively punk shows. There’s a thrillingly cinematic sequence that brings us right into the madness of the bar, but importantly, it never feels dangerous. There is a clear and distinct notion of community surrounding this group, and that undercurrent is felt, especially when juxtaposed to the band of skinheads coming to torment them. Constantly getting accosted by the group of Nazis, the group decides to do something about it. What one might not expect is a complete and immediate turn into pulpy madness as the two forces clash against one another. Bursting at the seams with a ridiculously fun and creative flourish, Freaky Tales very much feels like Boden & Fleck have broken the shackles of deeply restrictive franchise filmmaking to make exactly the film they set out to make. And of course, there’s nothing more rewarding than seeing Nazis get absolutely pummeled in the streets.
In his opening remarks regarding the film, Fleck displayed his deep adoration for the slew of subjects this film is enamored with: the 1987 Golden State Warriors, legendary rapper Too $hort and the Oakland hip-hop scene, late-night movie rental shops, underground punk rock, and so much more. Importantly though, Freaky Tales doesn’t shy away from the elements of these subcultures that history has perhaps looked past in the name of nostalgic reverence. For example, while there is a clear love for Oakland legend Too $hort, the second chapter focuses on the real-life hip-hop duo, Danger Zone. Rappers Entice (Dominique Thorne) and Barbie (Normani) get invited to battle live on stage against the rapper. In typical golden age hip-hop fashion, Too $hort’s lyrics are incredibly misogynistic and focused on the notion that his opponents are women. With immersive camerawork, the duo lash back at Too $hort and take down his entire persona in a way that’s both venomous and confident. It’s a stand-out sequence of the film that does a whole lot with some simple yet foundational cinematic tricks. The talent behind the camera is crystal clear as the audience of both the film, and the audience within the film, becomes immensely drawn in.
The third chapter is where the film feels at its most haphazardly thrown together. There’s nothing necessarily wrong with the sequence. After all, it stars the Internet’s “Daddy”, Pedro Pascal, and he’s great as always. Through a very intense chain of events, which feel so tonally different from everything previously seen, one may wonder if this was initially devised as a longer feature, before simply being fit into the larger anthology narrative. As it stands on its own, it would make an excellent short film, but the frightening, and at times, incredibly depressing tone, make for an odd shift. It is rescued a bit with the fourth chapter however, which feels linked to its predecessor. It depicts the part-fact, part-fiction night of May 10, 1987, when Golden State Warrior Eric “Sleepy” Floyd (Jay Ellis) had a legendary playoff performance. In the film, what follows is something that could only be described as maximum grindhouse shlock. For the next 35 minutes, Boden & Fleck completely let loose on the cinematic sensibilities they clearly adore. From Kill Bill to Scanners to Death Wish, this is a film that will play exceedingly well for genre fans.
While the two halves of the film certainly feel a bit disjointed, each duology of chapters make for a great 50-55 minute set of double features. Aside from having minor interactions with one another, the chapters mostly remain isolated in each of the four sections of Oakland that are explored. While an anthology film is great in its own right and allows for a variety of filmmaking techniques to be explored, Freaky Tales feels like it would benefit immensely from much more cohesive threads all running throughout the stories of one another. But when this much love for both genre and a unique place pour off the screen, it’s easy to see why this film is just so fun and captivating. The more a filmmaker stands strong behind their intentions with a film, the stronger the film will feel in the end.
Freaky Tales celebrated its world premiere at the 2024 Sundance Film Festival in the Premieres section.
