Sleepstalker (released in the Philippines as A Demon in the House) is a 1995 horror film directed by Turi Meyer, written by Al Septien and Meyer, and starring Michael Harris, Jay Underwood, Kathryn Morris, and Michael D. Roberts.
Plot
Seventeen years after slaughtering all but one member of a family, "The Sandman" (Michael Harris) is pending execution. Before his execution the jailers allow a minister (Michael D. Roberts) to visit him. The minister is a voodoo priest and an ally of the prisoner, which the jailers did not realize. A hex is placed onto The Sandman, so that when his execution is over, his soul can travel to a new body made of sand, but all his blood relatives would need to die. The Sandman then plots to kill a young man named Griffin (Jay Underwood), who is his biological little brother, and additionally, a survivor of the abuse of their birth father. Griffin survived the attempted slaughter, but his adoptive parents did not. The Sandman is then reborn, upon execution, to have a chance to try once again.
Cast
Michael Harris as The Sandman
Giuseppe Andrews as Young Sandman
Jay Underwood as Griffin Davis
Vincent Barry as Young Griffin Davis
Kathryn Morris as Megan
Michael D. Roberts as The Preacher
William Lucking as Detective Bronson Worth
Kathleen McMartin as Dana
A.J. Glassman as Kenny
Peter Vasquez as 'Dog' Sanchez
Ken Foree as Detective Rolands
Christopher Boyer as Detective Garcia
Angel Ashley as Cheryl
Lenore Van Camp as Julia
Marc McClure as Mr. Davis, Griffin's Father
Caryn Richman as Mrs. Davis, Griffin's Mother
Barry Lynch as Pierson, Prison Guard
Michael Faella as Sandman's Father
Lillian Hurst as Old Woman
Production
An international co-production between The United Kingdom and The United States. Prism Entertainment began pre-production of the film in 1994.
Release
Sleepstalker was released direct-to-video in 1995. In the Philippines, the film was released in theaters as A Demon in the House on April 27, 1995.
Reception
TV Guide rated it 2/5 stars and wrote, "Sleepstalker simultaneously demonstrates its director's cinematic finesse and frustration at being unable to transform a sow's ear screenplay."