It’s movie math: Take one pregnant woman, add a bunch of shady people, multiply by the natural anxiety that comes with bringing new life into the world, and voila, you’ve got a “Rosemary’s Baby
” riff! But while John Lee’s “False Positive” may have seemed — at least initially, thanks to some well-made marketing materials — like some sort of millennial version of the classic horror effort, it doesn’t work on its own merits, let alone as a take on the 1968 feature. While the inevitable comparisons don’t help matters — and really, films about women who are pregnant and scared don’t need to automatically be compared to Roman Polanski
’s film, certainly not anymore — its own faults are obvious even without the snappy parallels.
Trapped in some bizarre movie genre hinterland, wholly resistant to veering too far in any direction,
Ambition and ideas aren’t in short supply in the film,