My quick rating – 7.3/10. Freaky Tales is a strange, vibrant love letter to 1987 Oakland — a year I remember well as it marked the start of my own high school journey. Directors Anna Boden and Ryan Fleck weave together four interconnected stories, each soaked in nostalgia, wild energy, and a touch of the supernatural, guided by a mysterious unseen force pulling the strings behind the chaos.
The first chapter throws us straight into the madness, with teen punks battling Nazi skinheads in a turf war that feels ripped straight from a graphic novel. The fight scenes are delightfully over-the-top, with texted reactions — “POWWW!” — flashing across the screen, a clear and loving homage to the classic Batman TV series with Adam West. CGI blood splatters even push beyond the 4:3 frame, breaking the visual boundaries in a way that’s both playful and visceral.
The second chapter shifts gears (and screen ratio) into the underground hip-hop scene, where a rap duo fights for their shot at immortality. The rap battle here is electric — funny, fast, and a bit raunchy — making it one of the film’s most purely entertaining moments. It captures that scrappy, creative spirit that was alive and well back in the day.
Chapter three hits particularly close to home, taking place inside a video store that feels like a portal to the past. Anyone who remembers backroom sections behind a curtain at places like West Coast Video will grin knowingly, although here, they crank up the fantasy by hiding an underground poker game behind a secret door. It’s a clever wink to the kind of under-the-table dealings that were part of that era (my stories are for another time!).
The final chapter brings it all together, culminating in a basketball showdown that cleverly uses animation to enhance the action. It’s a stylistic choice that fits right into the film’s playful, anything-goes energy. The choice of Metallica’s For Whom the Bell Tolls to score this climactic moment is pitch-perfect, blending Bruce Lee-inspired fight choreography with heavy metal attitude. The use of The Order of Death by Public Image Ltd. during the closing moments — a fantastic track from a criminally underrated film, Hardware — seals the film’s commitment to its retro roots.
Each story connects just enough, with characters occasionally crossing paths without ever feeling forced. Pedro Pascal and Jay Ellis headline a fantastic ensemble, both bringing serious presence to the screen. While it’s unclear if Freaky Tales had a wide U.S. theatrical release, this feels destined for cult classic status.
There’s a little bit of everything here: comedy, supernatural touches, street-level adventure, and maybe an exploding body, all wrapped up in a well-made, joyously weird package. Freaky Tales might be a love-it-or-hate-it experience, but for those who dig its vibe, it’s a trip worth taking. Support this one if you can — it’s gems like these that keep the spirit of creative filmmaking alive.
Freaky Tales is a bold, genre-bending blast through 1987 Oakland, mixing street fights, rap battles, and supernatural mayhem into a nostalgic, cult-worthy adventure.