‘Freaky Tales’ Review: Impeccable Vibes Save New Action-Comedy Anthology 

Mary Beth McAndrews   |  

Apr 3, 2025

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2025 is the year of the vibe-y genre movie, meaning films that prioritize curating an incredible atmosphere and tone over crafting a complex narrative. It’s a great trend, in my opinion, as it shows artists unafraid to play with traditional narrative structures in unique ways. Think Flying Lotus’ Ash, Marc Anthony Green’s Opus, and Shal Ngo’s Control Freak. And now Ryan Fleck and Anna Boden can add their new genre-blending anthology Freaky Tales to that list as the four-segment film curates the perfect 1980s Oakland vibe without dipping too far into rosy nostalgia. In focusing on creating a time capsule of such a specific time, Boden and Fleck’s anthology is a disjointed but incredibly entertaining experience where you get to watch Nazis get their heads bashed in, Pedro Pascal trade quips with Tom Hanks, and Jay Ellis wield a samurai sword.

Freaky Tales opens with a young Nazi-fighting punk love story as a trio of friends—Lucid (Jack Champion), Kohlrabi (Marteen), and Tina (Ji-young Yoo)—join their local punk scene to battle the skinheads that have crashed their shows. Meanwhile, Lucid falls for Tina as they prepare for the epic fight, gifting her a special spiked bracelet to wield against the fascists.

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Then, we move to rap duo Entice (Normani) and Barbie (Dominique Thorne), who are invited to a local rap show to battle against Too $hort (Symba). The two actors shine as the dynamic pair of women trying to make a name for themselves through their music. But it’s also a jarring tonal shift from the gory proceedings of the previous story. While the energy never falters, the connection between the two stories isn’t ever made apparent.

From there, Boden and Fleck guide us back into a world of violence where a hitman (Pedro Pascal) is embarking on his last job before retirement. His wife is pregnant, he’s ready to start a family, and he’s paid his debts. But no matter how badly he wants his happy ending, he only seems destined for tragedy. 

It all (sort of) comes together in the final tale where Sleepy Floyd (Jay Ellis) goes on a rampage after his house is robbed and his family hurt. It’s a bloody conclusion that exceeds the energy of the opening, and it’s deeply satisfying to boot. But what exactly is the connective tissue here? Great question. It’s all very loosely connected by a strange green light that grants our segment heroes’ powers in the face of corrupt cops and Nazi punks. 

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Some characters appear briefly in overlapping segments, but really, all that’s connecting the four Freaky Tales in a locale and time period. It doesn’t always make sense, but the performances and aesthetic are so strong that it ultimately doesn’t matter. This is just about having a good time and maybe even feeling a bit of catharsis in the first and last segments.

Every actor brings the energy, no matter the subject matter of their freaky tale. From Normani and Thorne’s electric chemistry to Pascal’s ever-present charm, there’s an inherent sense of fun and joy emanating from the screen at all times. It’s infectious, and it’s why Freaky Tales works so well. Everyone is aware of the kind of film they’re in, and they lean into it, especially Ben Mendelsohn as the creepy villain with a taste for bubblegum ice cream (the mark of a true sociopath). 

The performances are paired with a well-curated aesthetic thanks to dedicated production design, costume, and makeup teams who wanted to truly capture the vibe of 1987 Oakland. This isn’t about creating a generic ’80s look; this is about creating a time machine to a different time, and these teams were able to achieve just that, from coordinated sweatsuits to perfectly coiffed hair. The bright and eccentric aesthetic builds on that joy created by the performances to craft a full package of entertaining escapism. 

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Fresh off Captain Marvel and primarily known for their indie dramas, Freaky Tales is a deviation for the directing duo. But it’s a welcome one, one that shows off their sense of humor and flair for the absolutely ridiculous. It almost feels like a middle finger to audience expectations, especially fresh off the Disney machine. They’re stretching their wings and trying something a little different, and it pays off for the most part. 

Freaky Tales is an antidote to 2025, where Nazis are annihilated and the weirdos always prevail. It’s a balls-to-the-wall wild and weird anthology with a connection so loose you can barely see it. But that doesn’t really matter because, at the end of the day, this is a perfect movie to watch with a joint in hand and a couple of friends by your side. So sit back, press play, and get ready for some Freaky Tales.