Directed by Natalie Erika James from a screenplay she co-wrote with Christian White and Skylar James, Apartment 7A has the roughest of battles to fight. Do we need a prequel to what may be the most perfect horror movie ever, Rosemary’s Baby? We’ve had a TV movie sequel, Look What’s Happened to Rosemary’s Baby and a 2014 miniseries remake. What does this have to bring to the table?

In my eyes, a lot.

After their 2010 A Nightmare On Elm Street was a critical failure, Platinum Dunes stopped making remakes and reimaginings for some time, other than restarting the Teenage Mutant Ninja Turtles films. Since the success of their A Quiet Place and The Purge movies, they’ve embraced sequels and films set within the universe of their properties.

Terry Gionoffrio (Julia Garner) was just a short conversation and a death in the original, but here she’s a dancer who will seemingly do anything to be on Broadway, getting to be in Kiss Me, Kate before horribly breaking her ankle, an injury that she deals with via pills and determination. On another failed audition, she follows producer Alan Marchand (Jim Sturgess) home, becomes sick and is helped by Roman (Kevin McNally) and Minnie Castavet (Dianne Wiest). Over the next few days, she has a bad dream and wakes up on bed with Marchand, who tells her she got the part. Another nightmare leads to a neighbor named Lily giving her a salve that fixes her ankle, just days before Lily attacks her with scissors.

The Bramford is, as always, a strange place.

As you’d imagine, she’s soon pregnant and has the Castavets taking a special interest in her. Dr. Sapirstein seems too strange; a back alley abortion leads to the doctor having a seizure, you see where this is all going.

You’ve seen this part before. A party, where 1965 will be year one and God dies; Satan will be born. Except that — spoilers here — Terry dances to “Be My Baby” and sort of like The Pyx — exactly like? — she throws herself out the window, ending the child’s life before it can happen.

There’s a lot of fan service, but I think my wife may be the one person getting it all, like Minnie drinking a vodka blush or the Woodhouses walking through the police tape when the film ends. But after years of Blumhouse remakes angering her with how they play with the culture that she loves, she was wildly pleased with this film. Compared to the recent ‘Salem’s Lot, this feels practically worshipful. Wiest is great in her role.

Yes, we didn’t need a prequel to this film. But as I always say, when done well — or even just OK — films like this give us what we want most of all, more time in the worlds of the movies that we love the most.