This adaptation of "Rosemary’s Baby," while simple in its concept, suffers from the fact that the narrative has been explored so many times over the past fifty years that it lacks a real impact. Julia Garner portrays “Terry,” an aspiring dancer whose career is derailed by an injury and subsequent difficulties finding employment or housing. Her situation improves when the older "Castavet" couple offers her use of a vacant apartment within their building, called "Bamford." Determined to revive her professional life, she pursues "Marchand" (Jim Sturgess), a fellow resident and producer, with whom she begins a romantic relationship. Following a night she can’t fully remember and experiencing sudden illness, the story seems headed toward an obvious outcome, but something feels off for “Terry.” The mounting feeling of confinement within the building, shifts in the demeanor of her hosts "Minnie" (Dianne Wiest) and "Roman" (Kevin McNally), and a growing suspicion of genuine evil contribute to a downward spiral into paranoia that brings her close to breaking. The performances aren't particularly strong, nor is the script, and the intended feeling of dread comes across as rather muted, leaving the entire production underwhelming. While it’s challenging to view a remake without predicting events, this one mainly prompts the question of its necessity. Dianne Wiest likely receives the most praise for her acting; she effectively conveys a sense of calculated manipulation, but the other actors seem to be merely going through the motions in a lackluster and formulaic manner. It's perfectly acceptable entertainment, but I wouldn’t go out of my way to see it – if something isn't broken...

Source on TMDB