Customize Consent Preferences

We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.

The cookies that are categorized as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ... 

Always Active

Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.

No cookies to display.

Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.

No cookies to display.

Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.

No cookies to display.

Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.

No cookies to display.

Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns.

No cookies to display.

HomeEntertainment‘Freaky Tales’ Review: Totally Oakland

‘Freaky Tales’ Review: Totally Oakland

Crammed to the margins with peaceable punks, vicious skinheads, ambitious rappers, racist police — oh, and a green supernatural whatsit — Ryan Fleck and Anna Boden’s “Freaky Tales” is a nostalgic homage to the music, movies and personalities of the 1980s.

Set in 1987 in Oakland, where Fleck grew up, this revenge-of-the-underdogs picture unfolds through a lens of pop-culture goofiness. Blending multiple genres — action, comedy, horror, martial arts — Fleck and Boden’s screenplay is blunt and broad, a flurry of flyby references only loosely tethered to narrative logic. Bursts of animation and graphic-novel gore lend familiar gimmickry to the film’s four, vaguely connected stories, none of which feel fully cooked.

In the first, two teenagers (Ji-young Yoo and Jack Champion) and their fellow punks are forced to defend a beloved music venue from a tribe of marauding neo-Nazis. This segues into a sparking rap battle between a young female duo (Dominique Thorne and Normani, both standouts) and Too $hort (played by the hip-hop artist Symba). The third segment feels more robust, thanks to Pedro Pascal’s performance as a burned-out enforcer trying vainly to escape his violent past. And a bloodily operatic finale sees a loathsome detective (Ben Mendelsohn) pay when a scheme to rob the home of the basketball star Sleepy Floyd (Jay Ellis) goes spectacularly awry.

High on revolutionary spirit, “Freaky Tales” is a frisky, frantic pastiche that doesn’t always make sense. (In the third chapter, an unexpected cameo by a major celebrity is such a non sequitur even Pascal seems momentarily flummoxed.) Yet the visuals are meaty, and the filmmakers (whose last feature collaboration was on “Captain Marvel” in 2019) show considerable affection for their movie’s setting. I wish, though, they had focused less on the era’s greatest hits and more on the details of their script. Maybe then we would have learned the provenance of that supernatural whatsit.

Freaky Tales
Rated R for lewd lyrics, slow-motion bloodletting and an exploding racist. Running time: 1 hour 46 minutes. In theaters.

Content Source: www.nytimes.com

Related News

Latest News