Even with a smaller output, 2021 was looking to be the year that A24 officially rebounded. Many struggled to find a place for film following the pandemic, but they were proving that they’d be a guiding force for the new model. Following the acclaimed releases of Saint Maud (2021) and Minari (2021), they turned their mind to something a bit more obtuse. False Positive (2021) wasn’t the only pregnancy drama to be released around that time, but it had one of the more curious stamps. It was a horror title from the people whose previous credits included Broad City and several of Comedy Central’s more lowbrow comedy hits. It wasn’t their biggest success story, but it found them once again tackling difficult topics with compelling results.
The story begins with director John Lee about a decade prior to the final release of False Positive. According to him, his wife had suffered a terrible miscarriage that resulted in personal turmoil. As he dealt with the complications that resulted from it, he began talking to his peers and discovered that a lot of people had complicated relationships with the medical industry around birthing. The interest encouraged him to eventually write what he called a “70 page poem” exploring it. Given that in the years since he was almost exclusively known for comedies – his film directorial debut was the Netflix film Pee-Wee’s Big Holiday (2016) – it was going to be quite the detour in more ways than one. He would also be taking a jump from TV to film, creating a challenge that was sure to cause some buzz because of more than his involvement.
Key among collaborators was comedian Ilana Glazer. Along with other credits, she gained acclaim for creating the 2014 series Broad City based on 2010 shorts she did with co-star Abbi Jacobson. Glazer especially found an interest in exploring feminist subjects that also included criticizing the patriarchy. As she grew older and found interest in starting a family, this turned to pregnancy treatment, including IVF. The more that she discovered, the more she determined feelings not dissimilar from Lee.
It should be noted that while Glazer and Lee shared co-writing credits, the initial effort was on behalf of Lee. During their time working on Broad City, Glazer shared her desire to collaborate on a pregnancy drama, and Lee showed her the script. Given that they were working on several projects at once, they would often converse during them to get a better sense of what they wanted to achieve. Along with editor Jon Philpot, the team began to assemble the crew that would make up False Positive. The script would receive comparisons to Rosemary’s Baby (1968), and Lee has admitted to using easter eggs to the film in the script, including Justin Theroux’s name Adrian referring to the other film’s baby. Pierce Brosnan was also a fan of the script and came on board before getting financing from A24.
Following a career in comedy, Glazer was concerned about making a serious film. While Lee featured some level of satire, he intentionally made it more disturbing than funny. Another detail that distinguished the film was her choosing to straighten her hair. Given that many saw her curly hair as a sign of her comic status, it was a chance to play with archetypes. The film would also feature a morbid ending that featured her covered in blood. The studios were hesitant to release the film with it, but Glazer was insistent.
While Lee and Glazer would return to comedic work upon the film’s wrapping in 2019, they felt the desire to continue collaborating on projects. In interviews, they claimed that they had a few more ideas in mind. As of 2024, one was released: the AppleTV+ series The Afterparty. In an ironic twist of fate, the official release promotion was tied to Glazer’s actual first pregnancy. During interviews, she talked about the difficulties that came with navigating the medical system in a pandemic, such as having her husband attend ultrasounds via Zoom. Similarly, she claimed that it was difficult to process the moment because of her inability to discuss it via stand-up with audiences.
The film would have its premiere at The Tribecca Film Festival in 2021. It would receive mixed reviews and became the latest in a series of American films that explored pregnancy, including Unpregnant (2020) and Plan B (2020). The difference was that it was a horror film. It would also be the first and, as of March 2024, the only film that A24 has released in collaboration with Hulu. Given that audiences weren’t keen on returning to cineplexes just yet following the pandemic, it received a modest amount of attention. Even then, it was a far cry from the attention that A24’s previous two works had achieved that year.
It also didn’t get the best reputation from critics. According to critics aggregate website Rotten Tomatoes, False Positive received a 47% approval rating. It ranks among some of the lowest rated A24 films in a five year span. With an audience rating of 20%, it also appears to have been rather unfavorable with the general public. Kristy Puchko of Pajiba lead the complaints when noting, “It's preaching in all caps. Or considering the oddly goofy tone, All Caps in Comic Sans.” Mitchell Beaupre of Awards Radar shared the sentiment when arguing, “This is a largely regrettable misfire that feels more often than not like a script letting down a talented group of actors who are generally much better than this.” Brian Eggert of Deep Focus Review was one of the few who disagreed when stating, “What works best is how Glazer and Lee make the proceedings just familiar enough to be relatable, while also making the story's transition into horror freakily memorable.” The film received zero awards or nominations, even by local branches.
For better or worse, False Positive would become one of A24’s least recognized films of 2021. Without any major attention and negative reviews, it proved difficult to find an audience. Even with the appeal of Glazer and Lee doing horror, it wasn’t enough to win over audiences. For their next film, they would return to theaters with a sex comedy that pulled its influence from the one place everyone in 2020 had spent their lives: Twitter. It was a film that fared far better and lead to yet another farce that challenged women’s place in society. It wasn’t a runaway hit, but a nice return to form for a studio known for taking risks.
Coming Up Next: Zola (2021)
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