'Freaky Tales': A Wild, Thrilling Love Letter to 1980s Oakland
- Saxon Whitehead
- 3 hours ago
- 5 min read
Anna Boden and Ryan Fleck first made a name for themselves by making smaller, naturalistic films such as Half Nelson and Sugar. Their empathetic lens and knack for creating deeply human characters is present throughout their entire filmography, and are two of their biggest strengths. Even in their biggest film to date, 2019’s Captain Marvel, they found a way to inject their sensibilities into the Marvel formula, even if they are a bit more minimized compared to their earlier work. It’s been 6 years since their last film, and as a fan of Boden and Fleck, I couldn’t help but wonder what they might be cooking up. Never in a million years would I have guessed that they would make a film like Freaky Tales. Consisting of four interconnected stories, the film cultivates a personality that is quite different from Boden and Fleck’s other work, coming across more comedic and playing with genre elements. And yet, the deeply human way they write and view their characters is still very much present, which gives the film an interesting dimension that complements the wilder directions it goes. Freaky Tales is a bit of a big swing for Boden and Fleck, but it pays off for them tremendously, and is one of the more refreshingly original films I’ve seen in quite some time.
Set in Oakland, California circa 1987, we are treated to four stories that blend real locations and events with elements of action and sci-fi. We begin by following a group of punks who band together and fight back after a group of Neo-Nazis attack several patrons at a local club. The next story centers on a pair of young aspiring rappers named Entice (Normani) and Barbie (Dominique Thorne) as they stand on the precipice of their big break. Then, we get a story about a man named Clint (Pedro Pascal) who is trying to leave his life of crime behind as he prepares to become a father. The film’s last chapter tells the tale of NBA player Eric “Sleepy” Floyd (Jay Ellis) and his quest for vengeance after a robbery at his house takes a violent turn. All four tales connect in various ways, linked by shared characters, a growing fad called Psytopics, and strange green flashes of lightning.
Much of the film is inspired by Ryan Fleck’s upbringing in Oakland, and feels like a love letter to the city itself. Utilizing real locations and reimagining real events. The brawl at Gilman detailed in the first chapter actually happened, as did Sleepy Floyd’s legendary performance during 1987 NBA Playoffs matchup between the Warriors and the Lakers. There are many Oakland specific references throughout, yet the film never feels like it is too esoteric or anything. This could be because this is a genre film through and through, but it also translates so much of its specificity so well that someone like me who has never been to Oakland can easily understand the bulk of its references. I left this film with an appreciation for the city itself, and could feel the love that Fleck has for it all throughout.
What surprised me most about the film is how distinct each chapter of the film feels, yet still blends together as a whole very well. The tone and style differs to varying degrees throughout, employing different methods of storytelling and stylistic choices throughout. From comic book inspired action akin to Scott Pilgrim vs. The World, to the repeated motif of green glowing light emanating from different places, to the incorporation of surrealistic elements, the film has some striking visuals that help give the film its distinct personality. Beyond that, each section has a specific rhythm that fits perfectly within the context of the film. This is especially effective in the third section of the film, which is more of a slow burn. I also liked the faster pace we get in the first two sections, and the tall tale-esque storytelling seen in the fourth one. All four stories bring their own energy to the table, which combine to make an interesting journey through Oakland in the late 80s.
Each story is compelling in their own way, with an authenticity that lies underneath the style and strangeness. There is a humanity to each of the characters in this film which makes it so easy to connect with them and the film as a whole. Boden and Fleck clearly love Robert Altman, as Freaky Tales feels like their own weird spin on Short Cuts. The duo previously paid homage to the director with Mississippi Grind, which took influence from 1974’s California Split. In both instances, the comparison isn’t necessarily 1-to-1, but it is apparent that Altman is an important filmmaker to them. It always impresses me when filmmakers are able to wear their influences on their sleeves without feeling like they are ripping off other films or filmmakers, and Boden and Fleck do this exceptionally well.
The film’s ensemble as a whole is quite good, but there are some clear standouts that rise above the pack. Pedro Pascal is great as always, giving the type of performance you would expect to see in a Boden/Fleck film. His character, Clint, feels lived in, and Pascal comes across as both a regular guy and a tough guy you wouldn’t want to mess with. Ben Mendelsohn is definitely going big with his performance, but the film never overuses him, leading his energy to be perfectly deployed throughout. He is an absolutely abhorrent character, yet you can’t look away from him every time he shows up. Normani and Dominique Thorne are a great duo, and I could have watched a whole movie about their characters. They are both compelling performers on their own, but their chemistry is excellent and is a driving force of their section of the film. Jay Ellis gets his chance to essentially be an action hero in this film, and he absolutely nails it. He plays Sleepy Floyd as an affable figure with this mystical quality about him, but he also has a simmering rage that he taps into in the final stretch of the film. There is also a great cameo that I won’t spoil here, but it provides one of the best scenes of the film, and is the cherry on top of an excellent cast.
Freaky Tales is a wild film that some might not fully gel with, but I was all in on it from the opening scene. Those expecting Boden and Fleck’s usual style might be surprised by how different it is in most respects from their other work, but there is still a healthy dose of their specific sensibilities present here. I went into it blind and was surprised by just how weird it gets, but it is also one of the things I appreciate the most about the film. It is funny, thrilling, and a rollicking good time, featuring some of Boden and Fleck’s most stylistically interesting work to date, and shows what they are capable of when working in different genres than they have in the past. Freaky Tales is easily one of the more original films I’ve seen in the past few years, and had me buzzing from beginning to end.