Julia Garner shines but this Rosemary’s Baby prequel is a little too formulaic and cheap to be considered a worthy continuation.
PLOT: A struggling dancer finds herself drawn into dark forces by a peculiar couple promising her fame.
REVIEW: I would consider Rosemary’s Baby to be one of the greatest films of all time, horror or otherwise. Mia Farrow’s performance is absolutely sublime and paranoia can be felt in nearly every frame of celluloid. There’s plenty of intrigue with the cult of Satan that is deadset on birthing the Antichrist. It’s such a descent into madness and shows the extremes of gaslighting (to say the least). So it’s easy to be a bit nervous about a prequel coming along for such a beloved film. But then you add Julia Garner in the lead role and they seem to be on the right path. If only they’d kept on that path…
Rather than following a couple desperate for a baby, Apartment 7A follows a single lady, Terry (Garner), as she struggles to be a dancer in New York City. She meets a mysterious older couple and suddenly all of her dreams are coming true. She just has to follow their guidance. You can probably guess where this is going but I appreciated that it focuses on how someone would be susceptible to this situation. She’s had her world taken from her and is just looking for a way out. It’s easy to shout at the screen, imploring her to run but the stakes are properly ramped up subtlety. Though I do wish her back was more against the wall. Instead, her issues come entirely through ego.
Julia Garner is great in everything she does and here is no different. Her eyes say so much that the camera can just linger on her and so much is conveyed. Pretty sure this woman could play a stick and make it interesting. But the Terry character is ego driven and not nearly endearing enough. She also doesn’t cross over into paranoid mode until further into the story than I’d have liked. There’s a lot of setup and it can be a bit meandering. Terry also doesn’t feel nearly as isolated as Rosemary was, even being able to leave the apartment with little to no problem. She’s a single lady in New York City yet they never take advantage of the fear and isolation that can cause.
Ruth Gordon’s performance as Minnie Castevet in the original is so deliciously evil that made the role no cakewalk to replicate. And while there are elements that carry over, Dianne Wiest makes it her own. There’s something off about her from the beginning, and she only gets more and more controlling as the film progresses. Kevin McNally has such a jovial “dadness” to him that it’s all the more terrifying when he makes the switch. The cult itself doesn’t get as much screentime as you’d expect, with the story taking a similar path to the original.
The biggest issue I have with Apartment 7A is that it simply looks cheap. Everything about this feels like a streaming movie which clashes with everything about the original. Polanski’s film is so old school in its approach so it’s baffling as to why director Natalie Erika James took such a modern approach with the material. There are two different designs for Satan and one of them is this bejeweled monstrosity that gets far too much screentime. The other design looks better but we hardly even get a proper look at it.
In the end, Apartment 7A is a mixed bag. While Garner and Weist are absolutely fantastic, there’s little else to latch onto. Sturgess is severely underutilized and anyone who’s seen the original is going to know where this film ends up. While that can work (see: The First Omen) it’s hard to get invested here. This is another one of those films that feels like it would have been better served to just be entirely separate from the film it’s trying to connect itself to. I was desperate for them to try something different, though when they did, it came off as awkward. It’s a Catch-22 and results in a unsatisfying viewing experience.
APARTMENT 7A IS STREAMING ON PARAMOUNT PLUS ON SEPTEMBER 27TH, 2024.
Originally published at https://www.joblo.com/apartment-7a-review/
