Oakland, California – Filmmakers Anna Boden and Ryan Fleck have unveiled their new sci-fi omnibus film, “Freaky Tales,” at the Sundance Film Festival. Set in 1987 Oakland, the movie pays homage to 80s cinema nostalgia but falls short of delivering a satisfying and original experience.
Divided into four interlocking chapters, each with its own title card, “Freaky Tales” attempts to blend Generation Z sensibilities with an 80s aesthetic. However, the result feels derivative and lacks the organic soul of cinema. The film relies on a multitude of retro cinematic references, packaged into a winky pastiche, but fails to capture the essence of classics like “Pulp Fiction” or “Scanners.”
The first chapter, titled “The Gilman Strikes Back,” follows a group of punk-rock pacifists as they confront Nazi skinheads terrorizing Oakland. While the film’s attempt to incorporate a Generation Z perspective is commendable, it feels forced and fails to find a balance with the 80s setting. The inclusion of comic-book-style animatics feels out of place and unnecessary.
In the second chapter, “Don’t Fight the Feeling,” aspiring rap artists Entice and Barbie face sexual harassment from a cop known as The Guy. This storyline tackles issues of hate, homophobia, and racism, but falls short of offering meaningful commentary and instead mines laughs from the audience’s disgust.
Chapter Three, “Born to Mack,” introduces the character Clint, a criminal undertaking one last job before starting a family. The film features an outrageous cameo at a video store, serving as a reminder of its worst tendencies. However, the movie fails to deliver on its promises, with moments that come across as shallow winks to the audience.
The final chapter, “The Legend of Sleepy Floyd,” centers around Jay Ellis’ character, Sleepy Floyd, reimagining a famous Warriors/Lakers playoff game from May 1987. However, if the viewer is not already familiar with this trivia, the film does little to create enthusiasm or invite participation. Instead, it devolves into a bloodbath of Nazi revenge kills, lacking the impact and depth achieved by other films that inspired it.
“Freaky Tales” is a self-satisfied attempt to blend studio lessons learned from “Captain Marvel” with a more personal touch. However, it falls into the trap of relying too heavily on in-jokes and referencing other films without offering any meaningful contribution or originality. While it may be entertaining for some, it ultimately lacks the substance to make a lasting impact.
As “Freaky Tales” seeks U.S. distribution after its premiere at the Sundance Film Festival, it remains to be seen if audiences will embrace the film’s nostalgic charm or find it to be an empty imitation of past cinematic achievements.