Making legacy prequels or sequels like Apartment 7A to iconic horror movies is a tricky balancing act. On the one hand, the Director and the rest of the team behind the production are expected to do something fresh and exciting with the original concept. On the other, some viewers also expect a level of familiarity or homage to what made the original so incredibly successful and iconic. How is one supposed to handle a project of such clashing ideas? It’s hard to say whether there’s a definitive answer to such a quandary, which is especially surprising given the large amounts of sequels, prequels, and reboots that have become the bread and butter of the film industry.

Now comes the latest in a long line of continuations of iconic horror films with Apartment 7A, a prequel to the Roman Polanski film Rosemary’s Baby.  Directed by Natalie Erika James, Apartment 7A explores the life of the previous tenant of the titular apartment, Terry Gionoffrio (Julia Garner), a dancer struggling with her career following a devastating injury. Desperate to make something out of herself, Terry unknowingly makes a literal deal with the devil to get everything she’s wanted and more. The premise is simple enough, and Apartment 7A is all the better whenever it’s not trying to constantly allude to the more famous film it’s following in the footsteps of.

Written by Natalie Erika James, Christian White, and Skylar James from a story by Skylar James, the film is a tightly wound experience thanks to its short runtime. Apartment 7A wastes no time setting up the story and the supporting cast before delving straight into the sometimes unseen satanic horrors awaiting Terry. As horror movie protagonists go, Julia Garner does her absolute best with what little material she’s given to work with, serving as what feels like a polar opposite to Mia Farrow’s Rosemary. Terry’s trajectory is interesting, especially her decision at the film’s climax. However, everything surrounding Garner’s performance feels half-baked. There are several instances of ‘too-good-to-be-true’ circumstances involving Terry’s change of fate.

Practically homeless and desperate for a job, Terry is taken in by the elderly couple Minnie and Roman Castevet (Dianne Wiest & Kevin McNally) after she passes out. Before viewers realize what’s happened, Terry is given a free apartment and a meeting with the producer (Jim Sturgess) of a musical she’s desperate to be a part of. Between all this good fortune are creepy omens and several fainting episodes Terry experiences; the suspension of disbelief is gone by the end of the film’s first thirty minutes. It’s clear that Terry is in danger to everyone but her, and maybe that is the point. Perhaps Terry sees the signs but doesn’t care as it’s advancing her dream. However, the film doesn’t give much thought to Terry’s internal struggles and motivations.

Despite the weaker character development, Apartment 7A has interesting moments centered around Terry’s dancing profession. Hallucinoutary moments feature impressive choreography and dance numbers, adding charm and allure to the underlying evil at the story’s heart. In these all-too-brief moments, the film feels like a true departure from the iconic film it stems from, but it doesn’t last long. Before you know it, Apartment 7A is back to living in the shadow of Rosemary’s Baby. However, that isn’t for lack of trying, as both the director and star of the film are clearly pouring their all into this doomed project.

Julia Garner’s Terry is an entirely different protagonist than Mia Farrow’s Rosemary, which was the smartest choice when crafting this new character. While the writing of the character and her gullibility can get frustrating, it’s when Terry chases after her passion and realizes the situation she’s in that the acting really shines. The level of defiance and courage shown by the character is refreshing and helps to ground the sinister film in reality. The best part of the film is, without a doubt, the ending of the third act, with Terry performing a dance that, while you saw coming from a mile away at the beginning of the film, still manages to stun you with its morbid conclusion.

Related: ‘The Penguin’ Review: “A Psychologically Gripping Crime Story”

Overall, it’s hard to fault the talent behind the camera for the disappointing finished product. There are plenty of creative scares in Apartment 7A, and the production design and look of the film do a great job invoking the aesthetic and imagery of Rosemary’s Baby. However, there’s only so much replication a film can do before it seems like a better idea just to watch the original movie it’s trying to replicate. Natalie Erika James has a clear eye for the unsettling, giving the evil in the film an almost omnipotent presence.

Still, the strengths and talent of its director and cast aren’t enough to elevate Apartment 7A as one of the few good horror prequels. Instead, the movie is a middling effort that feels less creative-driven and more studio-mandated. There are bits and pieces of the movie that you can enjoy, especially if you’re a fan of the original film. Unfortunately, there’s not much in the movie that promises anything exciting or new to come of it. – Ernesto Valenzuela

Rating – 4/10

Apartment 7A is Now Streaming on Paramount Plus.