And yet, it’s easy to forgive the deficiencies of “False Positive,” simply because it feels so oddly unique. Lee’s film reminds one that while contemporary horror is thankfully chock-full of masterful films like “Hereditary” and “The Babadook” about the terrors of motherhood, it is far less prolific a genre in dismantling the taboos of expectancy, perhaps save for a “Prevenge” here or there. It is then no surprise that Roman Polanski’s “Rosemary’s Baby” becomes the most obvious point of reference for Glazer and Lee in their New York yarn about a successful young woman struggling with fertility first, and then, an entire ecosystem of ruthless gaslighters that her husband might or might not be a part of.And yet, it’s easy to forgive the deficiencies of “False Positive,” simply because it feels so oddly unique. Lee’s film reminds one that while contemporary horror is thankfully chock-full of masterful films like “Hereditary” and “The Babadook” about the terrors of motherhood, it is far less prolific a genre in dismantling the taboos of expectancy, perhaps save for a “Prevenge” here or there. It is then no surprise that Roman Polanski’s “Rosemary’s Baby” becomes the most obvious point of reference for Glazer and Lee in their New York yarn about a successful young woman struggling with fertility first, and then, an entire ecosystem of ruthless gaslighters that her husband might or might not be a part of.And yet, it’s easy to forgive the deficiencies of “False Positive,” simply because it feels so oddly unique. Lee’s film reminds one that while contemporary horror is thankfully chock-full of masterful films like “Hereditary” and “The Babadook” about the terrors of motherhood, it is far less prolific a genre in dismantling the taboos of expectancy, perhaps save for a “Prevenge” here or there. It is then no surprise that Roman Polanski’s “Rosemary’s Baby” becomes the most obvious point of reference for Glazer and Lee in their New York yarn about a successful young woman struggling with fertility first, and then, an entire ecosystem of ruthless gaslighters that her husband might or might not be a part of.And yet, it’s easy to forgive the deficiencies of “False Positive,” simply because it feels so oddly unique. Lee’s film reminds one that while contemporary horror is thankfully chock-full of masterful films like “Hereditary” and “The Babadook” about the terrors of motherhood, it is far less prolific a genre in dismantling the taboos of expectancy, perhaps save for a “Prevenge” here or there. It is then no surprise that Roman Polanski’s “Rosemary’s Baby” becomes the most obvious point of reference for Glazer and Lee in their New York yarn about a successful young woman struggling with fertility first, and then, an entire ecosystem of ruthless gaslighters that her husband might or might not be a part of.And yet, it’s easy to forgive the deficiencies of “False Positive,” simply because it feels so oddly unique. Lee’s film reminds one that while contemporary horror is thankfully chock-full of masterful films like “Hereditary” and “The Babadook” about the terrors of motherhood, it is far less prolific a genre in dismantling the taboos of expectancy, perhaps save for a “Prevenge” here or there. It is then no surprise that Roman Polanski’s “Rosemary’s Baby” becomes the most obvious point of reference for Glazer and Lee in their New York yarn about a successful young woman struggling with fertility first, and then, an entire ecosystem of ruthless gaslighters that her husband might or might not be a part of.And yet, it’s easy to forgive the deficiencies of “False Positive,” simply because it feels so oddly unique. Lee’s film reminds one that while contemporary horror is thankfully chock-full of masterful films like “Hereditary” and “The Babadook” about the terrors of motherhood, it is far less prolific a genre in dismantling the taboos of expectancy, perhaps save for a “Prevenge” here or there. It is then no surprise that Roman Polanski’s “Rosemary’s Baby” becomes the most obvious point of reference for Glazer and Lee in their New York yarn about a successful young woman struggling with fertility first, and then, an entire ecosystem of ruthless gaslighters that her husband might or might not be a part of.