Charles Brady and his mother Mary move to a small Indiana town, having recently fled Bodega Bay, California after draining and killed a young girl there. They are sleepwalkers - they can change their appearance and they need the lifeforce from young women. Charles has picked out young Tanya Robertson, whom he meets at a local high school, as his next victim. He asks her out for a date and invites her home... however, she did not suspect his real interest in her. On their first date, a picnic at a nearby cemetery, Charles attempts to drain the lifeforce from Tanya for himself and his mother. Written by
In the graveyard scene, one of the tombstones reads "Jenny Hicks". Jenny Hicks was the assistant to the director of the movie. See more »
When Tanya takes pictures through the SLR camera in the cemetery, she should have seen Charles in his true form since the image in an SLR viewfinder is bounced off a mirror. See more »
Look, you got one hysterical girl with a very vivid imagination and all that girl needs is a good smack on the butt and her mommy and daddy won't do it, I'll be happy to volunteer.
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Cat's claws slash through the screen after the credits, exposing a green glow beyond. See more »
Calling all cats...hurry, hurry to the scene of the crime...
SLEEPWALKERS starts out promisingly enough to be a creepy tale about a mother and son vampire team--needlessly involved in an incestuous relationship--played by BRIAN KRAUSE and ALICE KRIGE. These two handle their roles extremely well and the creepy atmosphere of the story makes you believe you're in for a good Stephen King thriller about a small town about to be devastated by vampires seeking nourishment.
There's even a pretty girl (MADCHEN AMICK) who flirts with the new boy in town, first at the movie theater where she works and then at high school--and these three characters carry the first part of the film nicely. You start to wonder whether the girl is going to be an easy victim of the mother and son team or whether she'll fight them off.
But as the plot thickens, so does the absurdity of the whole thing, all directed in comic book style so that none of the characters have any dimension beyond being puppets in a horror story that is so grotesque and over-the-top, particularly in the last half-hour, that you'll wonder whether a sane hand had any part in these proceedings. All of the business involving a menagerie of cats that sit on the couple's front lawn becomes laughable before the story uses them in a way that lacks any credibility at all.
To be fair, there are some scenes that do hold the interest, usually because a quirky supporting character, such as the black cop with his trusty traveling companion Clovis (a cat), provides some much needed humor--but those moments are few and far between. And any attempt to provide humor by having Stephen King play an obnoxious local man seeking help from a sheriff, fails utterly to do anything but convince the viewer that King should leave bit roles to professionals.
Whatever potential it had as a thriller is diminished by the outlandish ending which has Alice Krige losing her marbles completely. She hasn't had an eerier role since she played the girl who came back to life to haunt men in GHOST STORY ('82). But as good as she is, she can't save a trashy horror film from looking absurd.
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