Freaky Tales Soars with Grit, Heart, and Infectious Energy

Set in 1987 Oakland, Freaky Tales is a multi-track mixtape of colourful characters an NBA star, a corrupt cop, a female rap duo, teen punks, neo-Nazis, and a debt collector on a collision course in a fever dream of showdowns and battles. Executive produced by hip-hop pioneer Too $hort, and featuring an all-star ensemble including Pedro Pascal, Ben Mendelsohn, Jay Ellis, Normani, Dominique Thorne, Jack Champion, Ji-young Yoo, Angus Cloud, and Tom Hanks, this pulpy blend of explosive action, edgy humour, gory kills, and sly twists and turns makes for one wild ride.

Entertainment One presents a Macro Media production, a Gowanus Projection movie.

Freaky Tales is in select cinemas from 18 April and on digital platforms from 28 April

There is so much to be said about this movie that I could write a novel-length review talking about all of the influences, homages, and the sheer brilliance of Freaky Tales. But I won’t do that. I’ll keep this as short and sweet as possible. (Editors note: yeah, 1700 words isn’t short and sweet)

If you want a super quick review, here it is: GO AND WATCH THIS! It is a genuinely brilliant movie. It’s been four hours since I watched this and sat down to write this review, and I am still buzzing, still smiling, and I want to go back and watch it again.

Anna Boden and Ryan Fleck’s Freaky Tales is a cinematic firecracker, a kaleidoscopic, genre-defying love letter to 1987 Oakland and the 80s Grindhouse movies (and at a push even my favourite John Cusack movie One Crazy Summer) that pulses with rebellion, nostalgia, and unapologetic catharsis. Anchored by Pedro Pascal’s soulful performance, Jay Ellis’s powerful performance as a force of cool vengeance, and Tom Hanks is just amazing.

With a vibrant ensemble cast, this four-part anthology is a masterclass in balancing grindhouse grit with heartfelt humanity. With an unyielding commitment to celebrating its core message of Fuck Nazis, Freaky Tales is one of the year’s most exhilarating cinematic experiences. Being Woke has never been this fist-pumpingly Wonderful!!

Set against the backdrop of real historical events, most notably NBA legend Sleepy Floyd’s iconic 1987 playoff performance (something I didn’t know until; I sat down to write this review), Freaky Tales weaves together four interconnected stories of underdogs rising against systemic oppression, Nazis, and corrupt cops.

Anna Boden and Ryan Fleck, who grew up in the Bay Area, infuse every frame with an almost tactile reverence for Oakland’s cultural tapestry.

From the grungy punk haunts of Gilman Street to the neon-lit rap battles echoing Too $hort’s legacy, the film is a time capsule of the city’s rebellious spirit, reimagined through a fantastical lens. The punks club with a no Nazis, No Racism, No Homophobia rule felt so real, and when the house band started playing Operation Ivy’s Knowledge, I knew that this was going to be an incredible ride.

The directors employ a dizzying array of stylistic flourishes to evoke the era: grainy VHS textures and a synth-heavy score by Raphael Saadiq that throbs with urgency and perfectly captures the look and feel of horror movies from this period.  

Even the small cartoon indents between scenes were inspired; they reminded me of one of my favourite films from the late 80s, One Crazy Summer, by director Savage Steve Holland. I had hoped that it would be released in 1987 so that my theory and comparison would hold up, but it was released in 1986, and if you know me, that’s more than close enough.

Then there is that recurring green glow, part cosmic energy, part narrative MacGuffin, zips across the screen, binding the characters’ fates in a whimsical nod to the supernatural. The ambiguity that lends the film its mythic quality suggests that Oakland is the true protagonist, a city where magic and resistance simmer beneath the asphalt. There is a Tarantino feel to this and to other parts of the movie, but we will get to that later.

Freaky Tales is split into four stories that at first seem very loosely connected, but by the time you reluctantly leave the 1987’s Oakland of this movie, you will be smiling, cheering and clapping your hands at just how interconnected the four separate stories are.  

The opening chapter “Strength in Numbers: The Gilman Strikes Back”. Throws viewers headfirst into the East Bay punk scene, where a group of misfits led by the magnetic duo Tina (Ji-young Yoo) and Lucid (Jack Champion) defend their sanctuary from neo-Nazi invaders.

What begins as a tender will they won’t they evolves into a cathartic bloodbath, complete with grindhouse-level gore and a rallying cry against fascism. There is a scene where the collective that owns the club discusses how they can move forward after they were beaten up by a skinhead gang.

It’s funny and powerful at the same time. Looking at the dilemma of a punk club with a strict no-violence rule trying to figure out how to deal with the Skinheads. ‘No violence unless they are Nazis sounds like a perfect outcome.

The segment’s raw energy, enhanced by a pulsating punk soundtrack and visceral fight choreography, sets the tone for the film’s unapologetic ethos: Nazis get what’s coming to them. The blood will flow, and boy, it sure as hell does.

In the second chapter, “Don’t Fight the Feeling”, Dominique Thorne and Normani shine as aspiring hip-hop duo Entice and Barbie. Their battle against Too $hort (played by Symba, with the real rapper narrating the film) crackles with wit and feminist defiance, even if the stakes feel comparatively low.

However, this chapter is best looked at as the foundation for how the four chapters of the film are interconnected.

Ben Mendelsohn’s sensational turn as a lecherous cop adds an unsettling menace that permeates the film, and it will undoubtedly make your skin crawl with discomfort. I may have been put off from ever having another ice cream cone after witnessing this.

However, the compelling chemistry between Dominique Thorne and Normani, paired with Normani’s electrifying screen debut, makes this chapter sing, showcasing their fierce camaraderie and individual strengths.

The third chapter, “Born to Mack”, is where Freaky Tales reaches its emotional zenith. Pedro Pascal delivers a career-defining performance as Clint, a debt collector trapped in a cycle of violence, desperately seeking redemption before the birth of his child, before his past finally catches up on him.

Channelling the stoic vulnerability of his roles in The Last of Us and The Mandalorian, Pascal balances Clint’s simmering rage with aching tenderness. A scene where he bonds with a video store clerk (a scene-stealing Tom Hanks cameo) over ’80s cinema trivia is both humorous and haunting, a testament to Boden and Fleck’s knack for intimate character moments amid chaos. But be prepared, the final scene of this chapter will leave you broken on the inside.

“The Legend of Sleepy Floyd”

The film crescendos with Jay Ellis’s gonzo portrayal of Sleepy Floyd reimagined as a sword-wielding avenger slaughtering Nazis in a Tarantino-esque rampage. This chapter is a pure cinematic riot of neon blood splatter, samurai swords, and basketball heroics that morphs into a blaxploitation fever dream. Ellis’s transformation from athlete to mythic hero is nothing short of magnificent.

From the crowd pleasing tool up scene, a scene I have never been able to fully take seriously since watching I’m Gonna Git You Sucka, to be beautifully choreographed Game of Daeth / Kill Bill type battle against a grand of Nazi scumbags. The Legend of Sleepy Floyd is a perfect ending to such a righteous movie, especially when it contains a death scene that is so over-the-top but utterly perfect for this film. It had me clapping and laughing, and I even got out of my seat for a fist bump into the air.  

While Freaky Tales thrives as an ensemble piece, Pascal’s performance is its emotional anchor. Clint’s journey from hardened enforcer to desperate father resonates long after the credits roll. In one harrowing sequence, Clint confronts a man who ruined his life, only to spare him in a moment of gut-wrenching mercy. Pascal’s face, etched with exhaustion and flickering hope, speaks volumes about the cost of redemption. It’s a role that demands both physical brutality and quiet introspection, and Pascal delivers on every front, solidifying his status as one of Hollywood’s most versatile leading men. And an actor who is in danger of pushing Jensen Ackles out of the top position in my man-crush dream list.

Boden and Fleck’s post-Captain Marvel return to indie filmmaking is a sensory overload in the best way, with a finale that out kills Kill Bill. And a love and heart for the movies of the 80s.

While the soundtrack, a mixtape of Bay Area hip-hop, punk anthems, and synth-wave, feels like a character in itself, I mentioned Operation Ivy earlier.

But it is Metallica’s For Whom the Bell Tolls that gets my vote for the best use of a song in the film. The slow build-up with the bell tolling as Sleepy Floyd tools and before heading out for vengeance is one the most perfect uses of a song in the film.

The film’s political edge is equally potent. By centring Black, queer, and immigrant voices and unapologetically vilifying Nazis, Freaky Tales taps into contemporary anxieties without sacrificing escapism. As one character quips, “Punching Nazis never gets old,” and the film’s cathartic violence feels both timeless and urgently relevant.

Freaky Tales is a messy, vibrant movie that is unafraid to wear its heart on its sleeve. It’s a rallying cry. A celebration of Oakland’s rebels, artists, and everyday heroes, it reminds us that resistance is as much about community as it is about chaos.

The film’s true triumph lies in its boundless empathy for the underdog. Whether you’re here for the Nazi-punching, the synthwave aesthetics, or Pascal, Freaky Tales delivers the most wonderful, wokiest, cinematic experiences you are likely to have.

Freaky Tales is in select cinemas from 18 April and on digital platforms from 28 April.

Further Reading

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Lastly, with its focus on both mainstream and indie films, the Horror Movie Review section is an excellent resource to stay updated on upcoming releases and trends in the horror landscape. For any horror buff, exploring The Ginger Nuts of Horror Review Website is an essential step toward a deeper connection with the genre.