‘False Positive’: Ilana Glazer Tackles The Birth Industrial Complex In Satirical Gaslighting Pregnancy Horror [Tribeca Review]

False Positive director John Lee is responding to critics.

Marc Malkin Senior Film Awards, Events & Lifestyle EditorIlana Glazer admits she’s been really worried about what people would think of her new movie, “False Positive.” While a dark comedy at times, the Hulu movie is quite different compared to the colorful comedy of “Broad City,” the sitcom she co-created with co-star Abbi Jacobson.Co-written by Glazer and the film’s director John Lee, “False Positive” is a horror thriller of sorts about a couple (Glazer and Justin Theroux) who entrust a

False Positive starring Ilana Glazer on Hulu. Ilana Glazer’s name is synonymous with comedy and specifically Broad City, but the new Hulu movie False Positive gives us a whole new perspective on the actress.The first image in False Positive is one of horror–Illana Glazer slowly limping down the street, blood covering her face and clothes.

If you’re in the mood for an action flick without imagination, then “The Misfits” is the film for you. Recycling genre tropes, characters, and camerawork, “The Misfits” feels like you’re watching a montage of better movies.

The challenges of bipartisanship are easy to spot. It’s casting a die for cooperation, a hope that with your differing neighbor you can find not just common cause but common decency.

When attempting a biopic about a rock ‘n roll icon, there’s an inherent conflict of style and substance. Biopics are traditionally dramatic, yet glossy affairs that bring an air of prestige to every story, whether it’s the tale of a stuttering king, a cagey criminal, or the man who made McDonald’s an international chain.

The new A24/Hulu film, “False Positive,” isn’t a feature that is easily categorized. It’s a satire, sure.

Starring in John Lee’s “Falsa Positive” was the easiest “yes” of Pierce Brosnan’s career.

With his latest film, “False Positive,” director John Lee takes the always thrilling psychological horror genre, and he combines it with his signature dark comedy to construct a commentary on pregnancy and a woman’s right to her own bodily autonomy. Written by Lee, Ilana Glazer, and Alissa Nutting, “False Positive” stars Glazer as Lucy, who—along with her husband Adrian (Justin Theroux)—has been trying and failing to get pregnant.

Much can be said about Megan Mylan’s latest documentary “Simple As Water.” Yet, as its title insinuates, the film succeeds in its calculated minimalism. Cataloging the plight of four Syrian families in the aftermath of war, Mylan’s heartfelt exploration of human strife infuses informative insight with harrowing revelations.

Acclaimed photojournalist Gordon Parks was something of a renaissance man. A photographer, writer, composer, film director, and activist—he imbued the American Black experience with a sense of gravitas, esteem, and pathos through his Black gaze.

Easing back into moviemaking after the months-long covid shutdown seems like a mighty stressful proposition, and from the looks of the cast and crew credits for “No Sudden Move,” Steven Soderbergh decided to alleviate that stress by surrounding himself with people he knew.

What would it be like to see your childhood friends rise to fame, scratch at fortune, then die tragically young, only to become googled curiosities and cautionary tales? This was the journey of Hamilton Chango Harris, who appeared alongside his real-life skater pals in Larry Clark’s 1995 hit, “Kids.” Now, Harris aims to rewrite the narrative of the late Justin Pierce and Harold Hunter with “The Kids,” a documentary that reveals disturbing behind-the-scenes secrets and their aftermath.

Based, in part, on Father James Martin’s bestselling book “Building a Bridge: How the Catholic Church and LGBT Community Can Enter into a Relationship of Respect, Compassion, and Sensitivity,” Evan Mascagni and Shannon Post’s compassionate documentary “Building a Bridge” use Martin as an entry point into a larger discourse surrounding the relationship between the Catholic Church and the LGBTQ+ community.

Reclaiming Beach Boys co-founder Brian Wilson’s voice and personal narrative, “Brian Wilson: Long Promised Road,” is an insightful but breezy introduction to the musical mastermind. Touching on everything from his early career to Beach Boys success and his drug use and mental illness, Brent Wilson and Jason Fine’s film may not reveal much about Wilson that isn’t covered in a Wikipedia article but still allows the musician to reclaim his own narrative.

Using Leonard Bernstein’s own voice, collected from his myriad interviews throughout his life, as well as personal letters, many of which were published in the 2013 book “The Leonard Bernstein Letters,” Douglas Tirola’s “Bernstein’s Wall” works as both a broad overview of the famous conductor’s life, as well as a deep dive into his political activism.

Reflective and stoic, sometimes to a fault, Levan Koguashvili’s film “Brighton 4th” explores the hyper-masculine world of Georgian wrestlers and gamblers in Brooklyn.

With its signature liveliness, unapologetic attitude, and visual splendor, New York City has so long been a set of romantic comedies that this location has become a cliché. So, how does Jonah Feingold, the writer/director of “Dating & New York,” aim to make his mark on this sparkling skyline? By creating a postmodern rom-com that blatantly snatches from iconic influences to deliver an irreverent commentary on the genre and modern romance.

A man dressed as a Viking goes into a convenience store to trade furs for groceries; a trio of smugglers is on the verge of an escape across the border when a moose totals their car; a cop calls for a tracker dog, only to be told that it, “isn’t working today.” When asked what the hound could be doing, the other cop responds honestly, “No idea.