By Becca Johnson September 24, 2024
Back in 1968, a horror classic was born in Rosemary’s Baby. Directed by Roman Polanski and including a star-making turn from Mia Farrow in the titular role, the plot surrounds a young couple who move into an infamous apartment building, known by frightening legends and mysterious events, with the purpose of starting a family. Ever wondered what may have happened before Rosemary moved into the apartment? This straight to Paramount+ horror release, directed by Natalie Erika James (Relic) promises to answer that question.
Despite boasting an exceptional lead performance, a fun supporting cast and expert tension building, Apartment 7A struggles to prove its worth by adding very little to the overall story.
Synopsis
Terry Gionoffrio dreams of fame and fortune in New York City, but after suffering an injury, an older, wealthy couple welcomes her into their home in Bramford. When she receives an offer at another chance at fame, it seems that all her dreams are coming true. However, disturbing circumstances soon have her second-guessing the sacrifices she's willing to make for her career as she realizes that something evil is living not only in Apartment 7A, but in the Bramford itself.
Review
When Julia Garner is announced to be leading a project, anticipation rises, and rightly so. Expectedly, she is utterly fantastic as Terry Gionoffrio, a dancer who is struggling to make her way in the industry due to a painful injury and failed auditions aplenty. Her drive to succeed pairs really nicely with her self-awareness of the situation; she knows something isn’t quite right with the apartment block and its inhabitants, and it’s refreshing to see. Her decisions are believable, her determination is inspiring and Garner puts a lot of emotion into her turn. Garner has big shoes to fill, and she certainly carries her own. The supporting performances are equally as good, especially from Dianne Wiest (The Lost Boys) who becomes a bit of a scene-stealer as the runtime progresses. It’s great to see Wiest still going strong within the horror genre, and she gives a kind yet calculating turn as confidante to Terry, Minnie Castevet. Kevin McNally (The Pirates of the Caribbean) and Jim Sturgess (One Day) are also notable despite minimal screen-time.
When creating a prequel to a much-loved story, especially this many years on, it’s expected that the new one being told is worthwhile. The audience wishes for part homage, part lore expansion and part fresh new spin. Unfortunately, Apartment 7A squanders this by telling a story almost identical to the original. There are one or two new additions, the most interesting being Terry’s dancing job, which is utilised really well within the plot to become quite a large part of it. The dance sequences are fun to watch, and allow for some beautiful cinematography to shine through. The use of tension-building is also commendable, building an eerie atmosphere from the start. Unfortunately, it doesn’t really deliver much else of interest outside of this. The story plays out in the exact same manner as the 1968 original, and because we know what’ll happen to Terry, there is very little shock factor and much of the suspense falls flat. It doesn’t add in any new information to pad out what we already know, unfortunately failing to prove its existence outside of the obvious reasons. It’s not that the story is bad, it’s serviceable enough, it just feels a little bland and uninspired.
In terms of the horror, there’s not a great deal going for it here, either. It doesn’t manage to crawl uncomfortably under your skin in the same manner as the original, and the horror imagery is quite sparse. It fits much more comfortably into the thriller bracket, as the tension building is the biggest source of fear. From a technical standpoint, it’s an aesthetically pleasing and sounding watch, which is particularly commendable for a straight to streaming affair. Music is quite a large part of the movie given the dancing sub-plot, and the score suits the tone nicely. Any scenes revolving around Terry being on stage are nicely shot, with one dream sequence in particular that’s meticulously crafted, colourful and an instant standout. There are a few sequences that have some flair and are worth pressing play for, yet they unfortunately blend into the familiar background.
If anything, Apartment 7A is a tremendous showcase of Julia Garner’s talent. The acting is the best element, with Garner and Wiest elevating the material as much as they can. Certainly having its moments, it moves along nicely and creates a good sense of tone and unease. However, it doesn’t do enough to stand out, particularly due to the lack of creativity inside the storyline. It doesn’t add to or improve our experience of Rosemary’s Baby, or hit high on the scare scale, meaning that as both a prequel and a spooky season release, it’s passable at best.
Star Rating
Apartment 7A releases on digital platforms September 27
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