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If “Rosemary’s Baby” taught us anything it is that maybe it is better if we do not know our neighbors. A staple in the both horror and cinema history the 1969 film starring Mia Farrow set a new high for prestigious horror films where both the atmospheric dread and central performances carry every essence. The film is renowned and adored by many and continues to leave its mark on films today, so the idea of a prequel keeping the story alive is not hard to believe. Afterall the film did spawn off a sequel (universally panned) and a miniseries retelling back in 2014. APARTMENT 7A from director Natalie Erika James wants to show that the horrors started way before Rosemary and her husband Guy Woodhouse moved into that infamous and elitist Bramford building in New York City. While the original film hinted at horrific events that may have occurred prior to the Woodhouses APARTMENT 7A is an attempt at showing one woman’s own peril in particular. Terry Gionoffrio (Julia Garner) a struggling Broadway dancer finds herself in the luxurious life of the Bramford house in 1965 and much like Rosemary soon would, encounters nothing hut pain, evil doings and her mind and body being taken away from her. APARTMENT 7A does not just try to carry its predecessors same aura it practically feels like a cosplay version of the film. It plays out less like its own thing and more like a prolonged episode of American Horror Story, almost to the point where this critic would have believed you if you told him Ryan Murphy himself was a producer (he’s not, instead those duties are left to John Krasinski and Michael Bay). Unfortunately APARTMENT 7A depends so heavily on reminding us on the things to come it never takes a moment to feel as if the events unfolding now are even worth sticking around for. Instead is left a film that chooses to connect the pieces so closely to the original that it practically begs you to just return to the 1969 film instead. At least there you know the evils instore are enjoyable.

Terry is in pain. She wants to be under the Broadway lights and make a name for herself, but a dance routine gone wrong leaves her with a snapped ankle and an endless limp. Bills to pay, a pill addiction developing, and no success in sight Terry quickly becomes just another Midwesterner who comes to New York with a dream to no avail. Julia Garner as Terry may not be given all that much to shine through due to a lackluster script (by three screenwriters including Erika James) that keeps Terry at arm’s length with the audience, but thankfully Garner still has the ability to make her presence known regardless. As Terry you see Garner’s perseverance as an actor that pushes past the film just throwing situation upon situation onto her. This is a film less focused on the character of Terry and more her reactions to the events transpiring making it all the less of a role for Garner. Terry eventually encounters the deadly elderly duo of Margaux “Minnie” Castevet and Roman Castevet (Dianne Wiest and Kevin McNally respectively) who take her in and give her their spare apartment. For those familiar with the original film the sight of Minnie and Roman should send shivers down your spine. Wiest as Minnie gives a humorous impression but neither her nor McNally ever bring any real tension to the role. Rather more of the same annoyance of any neighbor that won’t let you be.

Eventually Minnie and Roman introduce Terry to the big shot Broadway producer Alan Marchand (Jim Sturgess) who takes a liking to Terry. She quickly finds herself in the spotlight she always wanted as the lead in a new Broadway after a mysterious accident occurs injury the original lead woman. Erika James films some amusing sequences that hints at a very dangerous entity following or perhaps living amongst Terry. After she becomes pregnant the film never hides its beat for beat repeat of the original, and while the film and its audience mostly knows what its in store for with being a prequel the film feels like just a reactionary to events we already have seen play out. There is little to Terry and the themes of female autonomy and it being taken away is only shown in some glances mostly shown through cheap frights.

APARTMENT 7A does not benefit from its straight to streaming film quality. Even during an engaging dance number that calls back to the old studio backlot days is filtered with a modern digital look from cinematographer Arnau Vallis Colomer that removes its old stage like feel. Instead everything about the film feels covered in modern horror decor desperate to feel like a time once before. APARTMENT 7A is not the film that will once again have you terrified of your neighbors, or upper class New Yorkers but instead be just another excuse for nostalgic based content to feel unneeded. The defenders of “Rosemary’s Baby” will cry in outrage to leave the past alone, but while the film does not tarnish what was, it certainly doesn’t bode well for anyone thinking what they should bring back next.

D+

APARTMENT 7A PREMEIRED AT THE 2024 FANTASTIC FEST. THE FILM WILL STREAM ON PARAMOUNT PLUS SEPTEMBER 27