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John Lee
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The perils of artificial insemination are also used to examine the anxiety surrounding women’s bodies as grounds for experimentation in Demon Seed (1977), Inseminoid (1981) and The Unborn (1991).
Think “Rosemary’s Baby,” “Demon Seed,” “The Brood,” and “Mother!” among others.
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.
Since the cast—Ilana Glazer, Justin Theroux, Pierce Brosnan—and the cinematographer (Pawel Pogorzelski, who shot both Hereditary and Midsommar for director Ari Aster) bring substantial cred to the film, even if the three actors aren't horror stars, we settle in for some sort of cool surprise.
The attention-grabbing opening plunges almost into Argento territory as Pawel Pogorzelski, the brilliantly suggestive cinematographer on Ari Aster’s Hereditary and Midsommar , floods a sleek Manhattan office building in throbbing reds and blues that consume the night.
Lee uses Pawel Pogorzelski, the cinematographer who also shot Ari Aster’s “Hereditary” and “Midsommar,” to visualize Lucy’s plight and her increasingly nightmarish experience of pregnancy.
The cinematography, by Pawel Pogorzelski ( Midsommar , Hereditary ), makes everything look crisp and almost clinically gorgeous; his is strictly the Manhattan of the one percent, the kind that's never met a mangy pigeon or a piece of trash.
In recent years, mainstream horror movies like “Hereditary” and “It Follows” have embraced a seemingly more sophisticated form that unites social and psychological drama with a sleek visual sensibility.
Glazer’s turn is reminiscent of Florence Pugh in Midsommar – though the character herself isn’t particularly outspoken or remarkable, her tiny facial ticks and ability to freeze in a singular, haunted expression makes her a magnetic force and the perfect lead for such a dizzying film.
Since the cast—Ilana Glazer, Justin Theroux, Pierce Brosnan—and the cinematographer (Pawel Pogorzelski, who shot both Hereditary and Midsommar for director Ari Aster) bring substantial cred to the film, even if the three actors aren't horror stars, we settle in for some sort of cool surprise.
The attention-grabbing opening plunges almost into Argento territory as Pawel Pogorzelski, the brilliantly suggestive cinematographer on Ari Aster’s Hereditary and Midsommar , floods a sleek Manhattan office building in throbbing reds and blues that consume the night.
Lee uses Pawel Pogorzelski, the cinematographer who also shot Ari Aster’s “Hereditary” and “Midsommar,” to visualize Lucy’s plight and her increasingly nightmarish experience of pregnancy.
The cinematography, by Pawel Pogorzelski ( Midsommar , Hereditary ), makes everything look crisp and almost clinically gorgeous; his is strictly the Manhattan of the one percent, the kind that's never met a mangy pigeon or a piece of trash.
Cinematographer, Pawel Pogorzelski ( Midsommar , Hereditary ), does some pretty work here, shooting certain conversations from stagnant perspectives, often in the distance.
Other themes intrinsic to Rosemary’s Baby, and thus False Positive, include the nefarious actions of husbands (1990’s Baby Blood, 2017’s mother!) and the psychological terror of pregnancy (2016’s Antibirth and Prevenge).
Think “Rosemary’s Baby,” “Demon Seed,” “The Brood,” and “Mother!” among others.
A24 is truly committed to the concept of independent cinema, and when they produce horror, they bring us quality fare such as The Witch, Hereditary, and the beloved by me Green Room.