The anthology concept, with its interconnected stories, is a concept that has yielded some absolutely classic movies over the years. From Amores Perros to Pulp Fiction, it's a fantastic way of telling a variety of stories that share certain overlaps and create a broader narrative about a time and place. The latest such offering to do just that comes from visionary directing/producing duo Anna Boden and Ryan Fleck: Freaky Tales.

Freaky Tales tells the story of a version of Oakland, California circa 1987. There are battles between punks and skinhead Nazis, two young Black women trying to make a break into the world of hip-hop after an unexpected opportunity, a hitman trying to finish one last job so he can escape from a life of crime and a basketball player wronged and out for revenge. It's a broad church, but those narratives all intersect in unexpected ways.

The premise of Freaky Tales doesn't sound extraordinary on paper, and the stories themselves are interesting, but not necessarily overtly eye-catching in isolation. However, the through line of these stories is not only in the overlap, but the “freaky” component, a strange sort of energy operating as a cosmic force that deeply affects all four narratives. This is also born out in the aesthetic, which beyond feeling like a strong, authentic version of 1980s California (or at least true to how Hollywood informs audiences about how that time period appeared), also makes use of a strange glow that comes into play at crucial moments. The look and film of the film is cool and funny, but also balanced with both a seedinness and a supernatural element. But these aspects are never in competition, simply blending together to form a compelling tapestry for the web of stories to unfurl within, which is massive credit to the filmmakers.   

There are a number of really strong acting performances that deserve praise, especially in a film that has many excellent turns. Pedro Pascal is captivating, as per usual, bringing an unspoken vulnerability to the violent, but moral Clint. There's a wonderful cameo from Tom Hanks, which almost steals the whole film. Jay Ellis is phenomenal as Sleepy Floyd, although to say much more would ruin one of the most unexpected and incredibly fun parts of the movie. Dominique Thorne and Normani (of Fifth Harmony fame) are both excellent as the musical act Danger Zone. However, perhaps the most outstanding performance comes from the ever-reliable Ben Mendelsohn, who shockingly plays the big bad in Freaky Tales (a perfect bit of casting). 

Freaky Tales feels like it has a lot to say. All of the stories have some moral questions and implications and the issues of 1987- like the far-right, sexism, police corruption and more – are very pertinent to a 2025 audience. Equally, this is a film with style and panache, making full use of the bright, unique visuals that 1987 provides in contrast to the modern day. Freaky Tales is a rare blend, in that it has the aforementioned social voice, but it's also very funny, deeply engaging and genuinely very entertaining. 

Freaky Tales is available on digital platforms from April 28 

Podcast