Apartment 7A is a psychological thriller that, while intriguing, ultimately struggles to blend its horror elements effectively. Indeed, for a prequel to one of the most iconic horror films of all time, the lack of horror present in this film is both surprising and disappointing. Don't get me wrong - the film offers a decent viewing experience, but it falls short of creating the kind of suspense and dread one might expect, particularly for fans of Rosemary’s Baby. And despite its ambitious goals, it often feels more like a made-for-TV film than the atmospheric horror movie it strives to be.

The acting is undoubtedly the highlight of "Apartment 7A". Dianne Wiest and Kevin McNally as the neighbors from Hell, the Castevets, deliver strong, unnerving performances that are sufficiently eerie. However, it’s Julia Garner as our protagonist, Terry Gionoffrio, who is the real standout of the movie. She turns in a terrifically nuanced and sympathetic performance, and her portrayal of a character under psychological duress who is being gaslit and manipulated is truly compelling. She adds a real sense of gravitas to the film, which is what the story desperately needs but, sadly, is lacking for the most part. The supporting cast also does a fine job of what's required of them, even during moments when the movie falters. That said, none of them are unable to elevate this movie to a level of quality above "fine".

Visually, the film has moments of excellence. The cinematography is slick and often atmospheric, even if it often looks cheap. Arnau Valls Colomer can build uneasy tension via simple camera tricks, as he lingers just a little too long on mundane objects, and moves just slowly enough to keep you on edge. However, despite these all-too-quick flashes of brilliance, the film fails to capitalize on its more unsettling imagery and atmosphere. The pacing issues, particularly in the first half, work against any tension being built, and by the time the supernatural elements come into play, it feels like too little, too late.

While intriguing, the story lacks the punch one might expect from a psychological horror film. The narrative is slow to start, and when it finally kicks into gear, it shifts focus between the psychological drama and the supernatural horror without fully committing to either. The demonic pregnancy plot, which is meant to be the film’s horror centerpiece, feels underwhelming and is one of its weaker points. It lacks the terror and atmosphere needed to make a lasting impact. Oddly enough, the most memorable parts of the film are the musical theater scenes. These moments, filled with energy and creativity, almost seem to belong to a different movie. They bring an unexpected charm that contrasts starkly with the darker elements. However, they also contribute to the film's tonal inconsistency, as it never quite decides whether it wants to be a tense horror film or something lighter and more surreal.

Where Apartment 7A does shine is in its connection to Rosemary’s Baby. The film’s ending ties directly into the original in a way that will please fans of the 1968 classic, offering clever nods and references throughout. But while these Easter eggs are fun for diehard fans, they aren’t enough to elevate the film to the greatness it seems to be striving for.

Prequels are always a challenge, and while Apartment 7A has its moments of intrigue, it falls short of living up to its potential. It’s an entertaining enough film, but it lacks the scares, focus, and tension to stand on its own apart from Roman Polanski's "Rosemary's Baby". Will I watch it again? Perhaps one day. But more than anything, it left me wanting to revisit Polanski’s most iconic film starring Mia Farrow.