the "Rosemary's Baby" setup of "False Positive" is chilling but ending disappoints; a rushed ending leaves loose ends frayed around the edges and reveals dastardly secrets that are frustratingly predictable
John Lee's aimless feature isn't dark enough to be scary, funny enough to be a comedy, or smart enough to say anything about the many topics it seems to want to tackle
it's Ilana Glazer, impressively flexing her dramatic acting skills, who draws us in and keeps us there; But the frayed strands of the horror plot feel hastily woven together, and underwhelming when all is revealed
it's clever, creepy and original enough to keep you glued; it's a juicy genre entry about how women's reproductive systems are treated like coveted real estate -- expertly crafted in terms of its visual command and well-acted by a strong ensemble
it's an overly ambitious and often jaw-dropping experience that's all but guaranteed to be divisive; It's the type of audacious feature that leaves you unsure of what you're watching but unable to get it out of your head long after the credits roll
Ilana Glazer and director John Lee's script gets infinitely darker, to a degree that no longer seems believable or even interesting, culminating with a yawner of a twist-a bold ending whose chutzpah must be applauded, but doesn't work
feeling at times like a new-millennium gloss on Roman Polanski's "Rosemary's Baby", "False Positive" threads classic horror-film tropes with a woozy, partially comic sensibility but doesn't fully commit to this approach
False Positive has a lot on its mind. Not all of it always works; but the film fascinates nonetheless; Still, for all its flaws and inability to deliver in the end, False Positive is a captivating take on the misrepresentation of the pregnancy "glow"
"False Positive" is sinister, smart, and spine-chilling. For all of its razor-sharp political commentary, the film boasts a wicked satirical edge that's driven home by absolute terror. At every level, it's a knockout
"False Positive" is a slow-burn endeavor, much too leisurely at times, but Glazer and Lee have certain ideas on the female experience that emerge with clarity, and they get awfully close to fascinating levels of darkness at times
by Katie Walsh [Los Angeles Times ]
by Meagan Navarro [Bloody Disgusting ]
by Chris Barsanti [Slant Magazine ]
by Caitlin Kennedy [Nightmarish Conjurings ]
