A struggling dancer finds herself drawn into dark forces by a peculiar couple promising her fame. This stars Julia Garner, Diane Wiest, Kevin McNally, and Jim Sturgis, and it takes place in late 60s in New York City, where Garner's a dancer who's barely making it. She's invited to live in a very posh apartment in an upscale building, where she begins to get strange vibes from the overly intrusive and nosy neighbors. OK, so to cut to the chase on this, the acting is good and unsettling.
Garner plays a naive and ambitious dancer well. She's got midwestern charm and is typically too polite for her own good. She trusts rather easily, at least until things begin to get really weird.
By that time, it's kind of too late. Diane Wiest and Kevin McNally are pushy and overbearing older neighbors, who to many would seem grandparently and kind, with just a touch of strangeness that could make some tiny hairs tingle. Here's the thing, though. If you've seen Rosemary's Baby, there is absolutely nothing new or novel here, save maybe for the very, very end of the movie. The progression of events, from the setup to the rolling out of oddities, it's so close to the original that this doesn't contain any mystery, intrigue, even surprises. I mean, I could have overlooked this a little if the film had been able to establish any sort of foreboding or threatening atmosphere.
But dread doesn't even begin to form. Situations are introduced so that small scares and general unease should permeate the story, showcasing bizarre imagery as Garner sleeps. I do appreciate how we're not given concrete evidence on whether she's simply dreaming and imagining these visions, or if there's actually something more at play to cause her to see these unsettling things.
But just because some elements are there to create the discomfort doesn't mean that they execute efficiently. So in turn, the situations, they become impotent. And I can't fault the visuals for not capturing a creepy vibe.
What we are shown is creative and normally somewhat freaky. There are demonic or devilish things that appear in the periphery, sometimes through a reflection, other times just in that quick little glance. There are moments, too, when we're shown beings for several seconds, so we can get the full view of their horrific or scary design.
But it always comes back to this not bringing anything new or novel to the story. If this were telling a different origin story, giving us insight into maybe the older couple who have nefarious designs, that would be unique because then it would create background development on the terrifying events that we then watch play out in Rosemary's Baby. This is kind of like Rosemary's Baby Part .5. It's a rehash of the tale, but presented earlier in the timeline.
And I just found it to be dull and uninspired. Seriously, think of how in-depth the narrative could have delved into the backgrounds of the apartment residents, how they found each other, they constructed their plans, roped in prospects, even maintained their low profiles. By creating levels of development on the residents and then even the building itself, this would then build on the lore, which naturally leads us right into Mia Farrow's horrific experience.
And this would also allow Julia Garner's encounters to be more weighty, possibly even shocking. And that really is a shame because there are so many wonderful items that work for the production. Weasley McNally, they're cagey.
Thanks to their nosy intrusiveness, there's a good amount of distrust and unease with them. I mean, you never know when they're going to show up or barge their way into the apartment. And then they have a way of appearing sweet and caring, but there's always an expectant edge to them.
And Garner's innocent and trusting, believing people are inherently good and trustworthy. And I appreciate how her suspicions slowly build as things begin not to add up. Small instances that when combined show a devious picture.
And Jim Sturgess, he's just the right amount of sleazy. I mean, he's certainly got this rapey vibe to him, capturing exactly the type of producer that you'd expect to be involved in some sort of casting couch situation. Now, I don't think we get enough time with his character, especially because there is an opportunity to really delve into his involvement and motivations.
But he's effective with the time that he gets to create somebody that we know Garner shouldn't trust or even get involved with. And then the imagery and reveals. These are patiently and sparingly doled out, giving us tiny glances at first and then revealing more as the narrative plays out.
If I'd never seen Rosemary's Baby, then maybe this could be a little creepy and tense. But because that film does exist, there's no reason for this one to be here in its present form. I was really looking forward to seeing this, not only because the first movie is a disturbing classic, but Julia Garner is spectacular as an actress.
And then I just wanted to see what she could bring to a production like this. So overall, Apartment 7A is an uninspired and dull rehashing of its predecessor. I'll rate the movie 4 out of 10. Despite having engaging performances, unsettling visuals and a slow burn mystery, the plot doesn't offer anything to warrant this weak origin story.
