Much like The First Omen from earlier this year, Apartment 7A teases a prequel to a classic horror/thriller. But while The First Omen at least attempted to expand on the original’s lore, Apartment 7A feels more like a watered-down remake of its inspiration—Rosemary’s Baby—that never quite justifies its existence.
The movie centers on Terry Gionoffrio, a Broadway dancer whose career is cut short by a devastating injury. She moves into a rent-free New York apartment, offered by a kindly elderly couple, only to be haunted by unsettling dreams and eerie happenings. Soon, Terry realizes she’s caught in a sinister conspiracy that threatens her life.
Right from the start, with an amateurish depiction of a Broadway performance and lackluster singing, Apartment 7A shows it’s content with just doing the bare minimum. The film makes few artistic choices, and it quickly becomes a basic retelling of Rosemary’s Baby—without any of the depth or challenges that made that film iconic. While it’s never outright terrible and moves briskly at 104 minutes, it’s also never scary. Everything is dialed down, from the dream sequences to the eerie flashbacks, none of which carry the punch of the original. Rosemary’s Baby showed the devil for just a second, but it was far more terrifying than anything this film offers.
One saving grace is Julia Garner. While her singing doesn’t quite sell the Broadway aspirations of her character, she’s charismatic enough to carry the film. Dianne Wiest is also effective, but her over-the-top vocal mannerisms clash with the film’s more grounded approach, making some scenes feel jarring.
The biggest issue, though, is how the film handles its mix of modern sensibilities and the classic plot. It misses key opportunities to add something fresh. For example, the subject of abortion—which wasn’t as socially acceptable at the time the movie is set—could have been explored to deepen the psychological tension. Instead, everything is wrapped up too quickly, with the film never willing to take risks or go in a new direction. By the time we get to the final act, we are watching a bizarre dance sequence that feels more silly than scary, leading to a rushed and unsatisfying conclusion.
In the end, there’s just no reason to watch a watered-down version of a much better movie when the original is readily available. Apartment 7A is ultimately a missed opportunity, and Julia Garner’s talents would have been better used elsewhere in a stronger film.