'Freaky Tales' review: Pulpy anthology film is fun to watch but doesn’t amount to much

Courtesy of Lionsgate

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A series of four interconnected narratives forms the backbone of “Freaky Tales,” marking writer-directors Anna Boden and Ryan Fleck’s return to their story-driven roots after the billion-dollar success of “Captain Marvel.” It’s a homecoming of sorts for the filmmakers behind “Half Nelson” and “It’s Kind of a Funny Story,” who channel their love for 1987 Oakland, California, in a film that pays homage to their influences. The title, inspired by the Too $hort song, is a clear nod to the city’s rich cultural history, while the film itself draws inspiration from classics like “Repo Man” and, perhaps most obviously, “Pulp Fiction.” 

As with most anthology films, the results are mixed. Some segments shine while others falter, and if a particular chapter doesn’t click, you’re left waiting for the next one to take over. The loose connective tissue tying everything together is a mysterious green glow that emanates from various objects around the city—bus stops, microphones, weapons, and even the Oakland A’s uniforms. Fans of NBA star Sleepy Floyd (played by “Top Gun: Maverick’s” Jay Ellis) will likely enjoy a subplot involving his infomercial promoting meditation and mind control, but the significance of the green light remains murky.

This glowing phenomenon weaves in and out of the stories, though its purpose is hit-or-miss—especially for audiences unfamiliar with Oakland’s lore. Instead, “Freaky Tales” seems more interested in exploring oppression and how racism and homophobia remain relevant issues today. This is evident from the first story, in which a group of punk rockers finds themselves in a brutal street brawl with skinheads—a sequence that feels plucked straight from “The Warriors.” The scene is well-shot, and who doesn’t love a good Nazi beatdown? But like much of the film, it doesn’t amount to much beyond its surface-level thrills.

The second story focuses on real-life rap duo Danger Zone, made up of Barbie (Dominique Fishback) and Entice (Normani). Their arc serves as a loose origin story, chronicling their rise to fame as they perform alongside Oakland legend Too $hort (who also narrates the film). Yet, just as they seem poised for success, that ever-present green glow reappears—suggesting, perhaps unintentionally, that their achievements are tied to some supernatural force rather than talent and perseverance. It’s an intriguing idea, but the takeaway is unclear.

The strongest of the four narratives features Pedro Pascal as a fixer-for-hire on the verge of fatherhood, struggling under the weight of his debts. Facing one last job before calling it quits, his story delivers the film’s most compelling moments. Early in this segment, a video store clerk (played by an A-list actor in a cameo too good to spoil) delivers a passionate monologue about the power of cinema. The scene gives “Freaky Tales” an energy it sorely needs, offering a glimpse into what the filmmakers may have been aiming for all along. Some may find it overly cheeky or misplaced, but I admired its boldness.

Finally, everything circles back to the skinheads from the opening chapter and a corrupt cop, played by a sneering Ben Mendelsohn. Unfortunately, he isn’t given much to do beyond scowling at the camera. This final act attempts to tie everything together, bringing Sleepy Floyd’s meditation and mind-control program into focus. But by this point, if audiences aren’t experiencing some level of tonal whiplash, it would be a miracle.

At just over 105 minutes, “Freaky Tales” juggles music, movies, memory, and culture with an ambitious but often scattered approach. Aspect ratios shift without reason, characters remain underdeveloped, and the film’s vibe is more fleeting than immersive. Boden and Fleck deserve credit for their stylistic risks, but too often, style overtakes substance. And with the story slipping through their fingers, one has to ask: What are we even doing here?

Grade: C 

FREAKY TALES opens in theaters Friday, April 4th.