REVIEW: “Apartment 7A” (2024)

As a seasoned viewer of horror films and someone who has been captivated by the chilling tale of “Rosemary’s Baby”, I found myself intrigued by the prequel, “Apartment 7A”. While it doesn’t exactly break new ground in the realm of psychological horror, it certainly pays a rich tribute to its predecessor.

Director Natalie Erika James endeavors boldly with “Apartment 7A,” offering an intriguing prequel to Roman Polanski’s acclaimed “Rosemary’s Baby.” This psychological horror-thriller offers a fresh perspective on the 1968 film and Ira Levin’s original 1967 novel. It shines most as a captivating supplement, filling in gaps rather than expanding the storyline. More so, it pays tribute to Polanski’s classic masterpiece than it does forge new paths.

Individuals familiar with “Rosemary’s Baby” might anticipate something intriguing upon hearing the name Terry Gionoffrio. She’s a youthful character who played a minor yet impactful role in Polanski’s earlier production, and she takes center stage in James’ prequel. The story unfolds in 1965, where Terry (convincingly portrayed by Julia Garner), is an ambitious dancer from Nebraska pursuing her dreams of stardom in New York City. Her career appears to be thriving, but a tragic accident during a live performance leaves her with a broken ankle.

Terry is compelled to undergo an extended, agonizing healing process, causing her to rely on painkillers frequently. Despite attending numerous auditions, her weak ankle draws unwanted attention and she fails to secure roles. However, luck seems to swing either way for Terry when she encounters the benevolent Castevets, Minnie (played by Dianne Wiest) and Roman (Kevin McNally). They are a wealthy, elderly couple residing in The Bramford, an elaborate Renaissance Revival apartment building situated in Manhattan.

The Castevets inform Terry that they don’t have any biological children. Instead, they take pleasure in assisting young individuals facing difficulties, which is why they propose letting her live rent-free in their nearby apartment. Almost instantly, things begin to improve for Terry. One of her new neighbors, Mrs. Gardenia (Tina Gray), provides her with a homemade herbal cure that completely heals her ankle. Following a hazy night spent with another tenant, Alan Marchand (Jim Sturgess), she lands a job in the chorus line for a musical he’s producing.

Initially, I was drawn in by what seemed like incredible opportunities coming my way. However, as time passed, the Castevets’ behavior shifted from kind to peculiar to downright intrusive. Mysterious sores surfaced on my body, and doubts swirled around my encounter with Alan. Given that this story is a prequel to the original, it’s already been established where things lead and how they unfold. This prior knowledge strips “Apartment 7A” of its intrigue and suspense, as we can predict the direction the narrative will take.

James skillfully makes numerous astute decisions and introduces distinctive elements that keep us captivated. The story’s theme presents an intriguing balance as it portrays a young woman’s intense fascination with celebrity. Terry may have found herself in a precarious situation, but she is undeniably a victim. Garner masterfully handles these complex tensions, revealing ambition that results in remorse and later vulnerability that transforms into resilience.

In the creative style of James, there are two compelling dance scenes that stand out. One is a grand, intricately designed musical performance, while the other is a more personal and strategically crafted dance routine. Despite their contrasting origins and objectives, they contribute to the overall energy in this somewhat predictable but skillfully produced, paced, and acted “Rosemary’s Baby” spin-off, titled “Apartment 7A”, which is now available for streaming on Paramount+.

2024-10-08 17:56

REVIEW: “Apartment 7A” (2024)

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