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A Reagan-era Oakland of punks, basketball and rap battles comes to life in ‘Freaky Tales’

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Freaky Tales,” a quirky relic from the creative minds of Anna Boden and Ryan Fleck (“Half Nelson,” “Captain Marvel”), serves as a nostalgic homage to the Bay Area as it may have been remembered by a young boy, featuring three loosely based-on-truth tales set on May 10, 1987. The film is narrated by rapper Too Short, who also makes a cameo as a police officer. You’ll spot him on screen too, although you’ll see DeMario Symba Driver portraying his younger self. The title “Freaky Tales” originates from Too Short’s nine-minute song of sexual boasting from his 1987 gold album, hinting at a gender-related retribution he encounters in the film.

During that summer, Fleck was a 10-year-old resident of Berkeley. At that age, he hadn’t witnessed Too Short’s rap battles personally, but he carried the essence of that era within him as part of his personal identity. Alongside his longtime collaborator Boden, Fleck captures the raw energy and exhilaration of that period – a sense of ‘being there’, magnified by anticipation – through images of a downtrodden city that, on rare occasions, manages to rise above adversity and triumph.

In a nutshell, most of the locations and some characters are genuine, but the dominant feature of this film is its exaggerated, even conflicting sense of nostalgia. The movie appears to be shot on VHS, with static appearing between scenes, and it also seems as if we’re watching it on 35mm reels at a local theater, complete with fake cigarette burns in the corners. Action sequences are either enhanced with comic-book style drawings and sounds or they’re entirely animated. The filmmakers probably know that Oakland’s Grand Lake Theater didn’t screen “The Lost Boys” in May (it premiered in July). However, it seems they don’t mind, as the goal is to capture the right atmosphere, man.

The film is structured into four distinct parts, featuring three sets of protagonists: punks, hip hop artists, and the Golden State Warriors who were facing off against the Los Angeles Lakers in the NBA playoffs. In this specific match, game four with the possibility of a Lakers sweep, the point guard for Golden State, Sleepy Floyd (portrayed by Jay Ellis), was unwilling to concede defeat. He racked up an impressive 29 points in the final quarter, a post-season record that has remained unbeaten even after attempts by subsequent Warriors stars like Stephen Curry and Kevin Durant to surpass it.

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On this special night for Floyd, his extraordinary performance can be witnessed through archived footage online. During a courtside interview with a local sports broadcaster, the player’s achievements were depicted in awe-inspiring language. The newscaster described Floyd as playing beyond ordinary consciousness; he seemed to enter “another realm,” “that other zone.

In my perspective, the creators have ingeniously transformed the concept of metaphysics into a seemingly spiritual faith, with Floyd serving as the charismatic TV spokesperson for Psytopics – an immersive mindfulness retreat where local residents can hone their mental abilities to combat both personal and external struggles. For him, this undoubtedly encompasses figures like Magic Johnson and Kareem Abdul-Jabbar, although the narrative will later portray a fictional Floyd defeating antagonists with a ninja sword.

Three parts of the storyline share a common structure: A less favored character emerges victorious. The third segment, placed in the middle, is a fictional account about a hitman named Clint (Pedro Pascal), who aims to retire, promising his pregnant wife (Natalia Dominguez) that his violent past is now behind him. However, this subplot feels quite dark and serious, serving two purposes: boosting Pascal’s visibility on the poster and significantly altering the overall mood of the film.

If not, these intricately linked narratives are captivating pulp tales – I can’t help but see traces of Quentin Tarantino in the film. Characters often intersect in a charming manner that feels like more than mere coincidence, hinting at a connection deeper than Pascal’s Wager. In an unexpected turn, Clint, portrayed by Pascal, offers guidance to Tina and Lucid, two young characters (played by Ji-young Yoo and Jack Champion), about the most susceptible spot to strike with a spiked bracelet.

In this production, Tina and Lucid’s part initiates the show, setting a cheerful tone for tales of triumph (with a fair share of dramatic tension). It is modeled after a genuine confrontation between the dedicated 924 Gilman Street community, an enduring all-ages music venue, and a hostile group of racists. The narrative begins by taking us on an exhilarating journey down the club’s walkway and into a concert where youngsters are moshing so vigorously that the camera nearly falls over and manages to get back up. Later, during their kiss, we rise above the chaos as dancing bodies pogo, creating a charming romantic whirl.

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1. The costume team seemingly ran out of safety pins from the entire town. Yet, these rugged youngsters adhere to a pacifist ideology – that is, until they reach their limit of being harassed by neo-Nazis, at which point they choose to retaliate. There’s an abundance of gruesome scenes and a skinhead who undergoes a transformation into a tiki torch.

2. It seems like the costume department exhausted every safety pin in town. However, these resilient youngsters uphold a philosophy of nonviolence – unless they feel overwhelmed by continuous attacks from neo-Nazis, prompting them to defend themselves. The visuals are filled with bloodshed and there’s even a character who is depicted as a tiki torch after being transformed.

3. It appears the costume department utilized every safety pin in town. Regardless, these hardened youths maintain a belief in nonviolence – until they have had enough of being bullied by neo-Nazis and decide to retaliate. There’s an excessive amount of gore and one character is portrayed as a tiki torch after undergoing a transformation.

The movie maintains an uplifting tone throughout, with minimal instances of tension, despite the presence of Ben Mendelsohn’s dislikable police officer who frequently harasses two Black girls, Entice and Barbie (played by Normani and Dominique Thorne), at their nearby ice cream shop. Interestingly, Mendelsohn’s character gives a suggestive wink to another white man in the store, who wears a Jesse Jackson for President hat, but remains too frightened to intervene.

In my opinion, the standout scene in this movie is the engaging banter between Entice and Barbie. This was by far my favorite part, as they engage in a rap battle against Too Short that’s both entertaining and remarkably realistic. You might recognize these characters from Too Short’s track “Don’t Fight the Feelin'”, where the young artists, only 15 at the time, demonstrated their skill in outshining the more seasoned artist. Normani and Thorne truly excel in this performance, delivering rapid-fire, witty jabs that cleverly target Too Short’s height, size, and even his dental hygiene with a delightful air of mischief.

In Floyd’s Psytopics advertisements during the movie, bright green beams shoot out from the eyes of believers, illuminating every scene. Quick bursts of electric-green lightning flash in tense moments. Strange, swampy colors emanate from Entice’s microphone, the Oakland Coliseum, and even that spiked bracelet. The green glow seems to give people more confidence or cause nosebleeds. However, this phenomenon is never explained by the script, leaving it up to interpretation. The meaning behind it remains a mystery. As Boden and Fleck move away from Marvel and return to their independent filmmaking roots, they’ve still managed to create a superhero movie in disguise: a modern take on the Toxic Avenger.

Regardless of the approach taken, it’s clear that they’ve conducted thorough investigation. The blend of Evelyn “Champagne” King and Public Image Ltd., along with contemporary punk bands reinterpreting timeless tunes, is nothing short of amazing. Similarly impressive is Raphael Saadiq’s original score from Tony! Toni! Toné!

Every scene is brimming with intricacies, right down to the shirts showcasing lesser-known bands such as Sewer Trout. Even a subtle nod to rocky road ice cream, originating in Oakland in 1929, can be found.

These “Freaky Tales” are entertaining, albeit not entirely fulfilling. It’s understandable why numerous celebrities born in the Bay Area decided to participate in this film for a scene, ranging from the authentic Too Short and Sleepy Floyd, to local residents such as Marshawn Lynch portraying a bus driver, Rancid’s Tim Armstrong as a follower of Psytopics, and Angus Cloud appearing in one of his final roles as a menacing gangster. The most notable appearance is a cameo from Concord native Tom Hanks, who was already somewhat recognized at the time, even though none of the characters recall his name. (“Big” would be released the following year.) What they do remember about Hanks is that he used to sell hot dogs at the Oakland A’s stadium. In this movie, he portrays a chatty video-store clerk named Hank who encourages customers to name their favorite movies featuring underdogs.

The less favored individual expresses confidence that extraordinary feats can be accomplished,” Hanks asserts, flashing a grin. In bright, vibrant hues, this movie demonstrates the same spirit, offering a swift, economical burst of joy.

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2025-04-04 19:31

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