Apartment 7A
Apartment 7A
Apartment 7A: A certain couple persuades a broke dancer to trust them and promises her success but in the most immoral way possible.
In 1976, one of the sequels on the movie Rosemary’s Baby was made for television under the title Look What’s Happened to Rosemary’s Baby. Then with the same breath the audience returns screaming to the current one: Look What’s Happened to Rosemary’s Baby that is the umbilical cord extending everywhere this present shameful prequel impacts, called Apartment 7A.
Jump scares with supernatural horror that is more pronounced than usual replacing a lot of the more sophisticated character work and related subtleties (this is especially true in the ending which breaks all the rules of the film – story, character, shaping etc – and ties in with Rosemary’s baby but more importantly is about directing one’s uncontentedness towards a particular character’s fate – that of the doctor).
Instead of one horrifying images of demonic forced pregnancy, there are nightmarish visions, yielding to their clever guys and branched out to a pathology of dousing angst in ridiculousness while a variation of that is still here though it leaves no evil impact at all.
Terry Gionoffrio: The Rise & Fall We Co-writers Natalie Erika James and Screenwriters Christian White & Skylar James – If there was a book called Let Me In but without its only mention of the film by Roman polanski, it is likely that there was more faith to the original book than filmmakers usually have, so to speak – created for a good reason: for the in-fill story of Terry Gionoffrio who accidentally overdosed himself with drugs and subsequently suicidal.
It is also strange that the marketing (poster and official synopsis) seems to avoid informing the audience that this is a prequel to Rosemary’s Baby, as if they are aware that anyone obliviously enjoying this may change their mind upon discovering that it’s a cheap rip off remake revolving around a supporting character of the original.
Regardless, the character Terry which is played by Julia Garner is an unsuccessful aspiring dancer who has a roommate Annie (Marli Siu) who has the same dreams as hers. There will always be competition for the roles that they seek, they share the pain of turning each other down and in general, support one another’s achievements, but of course, Terry seeks some freedom and a roof away from everyone. After an unpleasant audition in which director Alan.
Marchand (Jim Sturgess) hounds Terry to describe growing up on a pig farm and attempts to blackmail Terry by asking if she’d allow herself to be humiliated for the role, she finds a very nice but unsettlingly fake aging couple, Minnie and Roman Castevet (Dianne Wiest and Kevin McNally, good replacements for great statesmen), who are nice charitable people that even have an adjacent house to help patients recovering from their troubles.
Anyone who’s watched Rosemary’s Baby knows the reason for their crimes but the point is that it is not going to be effective in this case, since as regards this interpretation of the material, and this is what makes it quite troublesome, it is quite devoted to ordinary mainstream oriented horror.
Though some of this places takes place within the realm of dancing shows up one or two visually composed sequences, which occasionally do get warped and set in a satanist setting makes some good atmospheric excuses to the film and also ironically one of the few things that they film achieves, but when it comes to more or less trying to recreate Rosemary’s Baby, well, you will wish that you were really watching that instead.
Even in the drab 1960s, there are efforts to address some of the most urgent contemporary issues, such as abortion, power abuse in the industry, and so on, but all of it is so superficial. It is hardly believable that any of that comes close to being entertaining and which is the courtesy of Julia Garner trying to, in the middle of such an absurd situation, where all the nice people surround her and try to make her an ideal life for her collection of extreme wants, look for depth in the character.
Including, she dominates the central dance sequence, as it happens the only one in the film throughout. For the rest, Apartment 7A is a plotless and purposeless area, making its reluctant steps towards the foregone conclusion and clumsily attempting to reinvent the wheel of character and storyline of Rosemary Child.
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- Genre: Drama, horror, Thriller
- Country: United States
- Director: Natalie Erika James
- Cast: Julia Garner, Dianne Wiest, Kevin McNally
