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good back-story, and good acting

Excellent but underrated film

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Even though the 1968 version is better,this new version explains everything much better.I couldn't quite understand the first movie and what and why some things were happening,but the new version has a much clearer vision.It's a good remake definitely,despite its differences.I also think that in this remake Mrs and Mr Castevet are more weird and creepy/scary,maybe better than in the first movie.Really liked this one!

I think Agnieszka Holland did an interesting job on directing a film with unavoidable comparison to the Polanski film of the same name. Cinematography by Michel Amathieu is well lit and looks professional. The problem that I have is that such horror film, thriller, and such look like cheap CW television shows when not filmed on film stock. That is my problem, but I just cannot adjust to the look of Gothic story painted on such a canvas.Otherwise, Zoe Saldana (Rosemary) hands in her usual above board acting job, but I must admit that I never liked Mia Farrows work, I found her to be without depth. So Ms. Saldana did not have to reach far, into her vast acting repertoire, to out act shallow Farrow, nevertheless she gave the part a good shove in the right direction. Patrick J. Adams (Guy), on the other hand, had to compete with John Cassavetes who was amazing in the role. He did not really rise to it, but his part was limited to very few emotions...which I did not feel he really reached, but it did not really distract from the film's plot.That's it for comparisons to the Polanski flick, other than I live across the street from the Dakota and it will always be the Rosemary's Baby building to me. The building in the film has an equally eerie facade and the inside with its maze of connecting rooms create a sinister set from Ms. Saldana to explore. OK that is enough comparisons!!! It is hard, is it not ? Taking on a classic film and putting it on television makes it impossible not to compare.As far as subject matter, does it really fit today's sensibilities. Whereas the Polanski film places loose with the supernatural overtones, this film jumps right in to all the trimmings of a full-out horror tale. It is a tragedy where the hero is consumed by the evil it seemed innocent enough to overcome. The hero is not saved by innocence, she is destroyed because of it. The underlining theme of both the book and this film (not so much in Polanski's tale) is betrayal. Rosemary is ultimately betrayed by her new friends, her apartment, her husband and finally herself. She is dammed. Does that make sense in a secular world where religion is greatly deflated ? Maybe not everyone's cup of tea anymore. Finally, this was produced by Saldana and her family. Perhaps that was too much, in the end, for her to chew.

My recommendation to those who have not read the novel or seen the original 1968 film version of Rosemary's Baby is to watch this TV movie first. You will have the advantage over the rest of us in being able to judge the merits of the story and the TV movie solely on their own merits. Next read the novel and when finished borrow or buy a DVD of the 1968 original. Having loved the classic Roman Polanski 1968 version starring Mia Farrow and John Cassavetes I was prepared to be very critical of this remake of Rosemary's Baby as a TV movie. Instead, I was pleasantly surprised. The 1968 cinema version ran for about 90 minutes whereas the two-part TV move is close to three hours. Too often when a producer does a remake and is given double the time of the original to fill the audience finds too much boring material that should have been cut. A case in point is the recent pointless remake for Netflix of 'From Dusk to Dawn' as a TV series. Fortunately this is not the case in the 2014 version of Rosemary's Baby as every minute is significant and adds to story and character development. Therefore the additions are interesting. The original story line of the novel has been retained but many new twists and turn have been successfully added. Aside from an intelligent and creative further development and partial remodeling of the story the cast's performance is excellent. Gorgeous Zoe Saldana -an Afro-Latina beauty of Santo Domingo roots - plays the part of the young married woman Rosemary Woodhouse. Miss Saldana seems much younger than her actual 36 years and replaces a pallid Mia Farrow (23 at the time but she seemed much older). Saldana is an accomplished actress with faultless diction and an excellent command of the English language. The husband, Guy Woodhouse, was depicted in 1968 as a very evil looking and temperamental Cassavetes (then aged 39) who dominates his wife Rosemary. Guy, a young unsuccessful author suffering from writer's block is played 46 years later by Canadian actor Patrick J. Adams (aged 33) in his first major role as until now he was basically a TV series actor. Patrick plays the role of Guy not as an evil wife-dominating person but as a rather weak character easily led astray but a young man who has qualms when he sees what has been made to happen to others to further his ambition, whereas the Guy Woodhouse in 1968 has no qualms or misgivings at all so long as his ambitions are fulfilled, even at his wife's expense. While the 1968 Guy Woodhouse has no conscience; the young husband in the 2014 version has so many apparent inward doubts than one is almost prepared to accept that he might well chicken out of the evil role imposed on him by the Castevets. In the 1968 version John Cassavetes was 16 years older than Mia Farrow whereas in 2014Patrick Adams is merely three years younger than Zoe Saldana so there is no apparent age difference. Given the wide age gap of the Woodhouse couple in 1968 and their virtually similar age in 2014 it is understandable that the actors have to be play their role in a different way from the 1968 movie. What was accepted in the 1960s as a dominant older husband lording it over a pretty wane child-like wife is no longer a 'politically-correct' theme in 2014. In 1969 a young Afro-American actress would have be given a role as a housemaid or an ethnic role whereas in 2014 Zoe is shown as a highly articulate intelligent modern young woman whose skin colour is immaterial. In the 2014 movie the racially-mixed but culturally equal Woodhouse couple is deeply in love with each other whereas for most of the 1968 film a loving relationship is patently absent. Most of the rest of the large cast are good French actors probably not well known abroad, but it does not matter. The evil Satanist Roman Castevet and his wife Margaux (Minnie in 1968) are played by a deceptive too-good-to-be true Jason Isaacs, helped in the role by the actor's slightly Saturnine features and a coldly evil looking Carole Bouquet. The Castevets in 2014 are played as a suave very modern and wealthy Parisian couple in place of the rather seedy and obnoxious Brooklyn–accented Castevets portrayed in 1968. However, the same message is given; the persons who offer you help are not always your friends. It often happens in real life that a very young couple with no family in a strange town form close relationships with much older childless married persons who assume a quasi-parental role over them and are frequently the one that initiate bonding. I had some reservations of the switch in cities where the play is enacted. In 1968, as in the novel, the setting was a Gothic and creepy building in New York City. I now realise that the City of Light can be just as creepy and Gothic as in 'The Ninth Gate'. Indeed, the location team had no more difficulty in finding a suitable creepy apartment building in Paris for the remake than had those of the short-lived TV series '666 Park Avenue' or for 'The Devil's Advocate'. Had the couple in the remake known enough French they might have realised that the name displayed on the front of the Castevets' building, 'la chimère (from Greek 'chimaera), means a fabulous beast or monster.

Remaking one of the great films (not just horror) of all time is not a very good idea, and almost certainly was going to be met with resistance and negative feedback and groans of lack of imagination nowadays. But "Rosemary's Baby" does present some interest as a modern updated take on the original 60's set story.How does the story and Rosemary's actions change in the modern world? What with the internet and cell phones and instant information, and maybe most importantly, a strong independent "modern" woman. The casting of Zoe Saldana as Rosemary, famous for her tough as nails action heroines she's been known to play, would seem to suggest this.None of this means anything however. The movie does open with Rosemary chasing down a burglar, resulting in a cop calling her brave and reckless, suggesting he needs more cops like her. Yet this leads nowhere. Never again does Rosemary do anything rash or without someone's permission. If the movie were to suggest that her independence had been taken from her, then yes maybe that would be interesting but that's not what's here.Instead we get a basic retread, expanded upon here and with some added gore there, with a fresh city that really amounts to nothing other than some French accents. Rosemary doesn't every really feel out of place here, except one time near the beginning when she suggest that she can't stay at a party because everyone is speaking French. But then everyone speaks English and that's that. Everything is plot contrivance without any new raison d'etre (I had to). Much like the recent wasted attempt at a "Carrie" remake...