Teen hunk Krause and his incestuous mother Krige are the last of a line of creatures who feed on the virtue and suffering of small-town virgins like Amick. So when Amick takes Krause to a graveyard to make out, he transforms into the date-rapist from Hell. The creature and transformation effects are impressive, but undermined by wild swings of tone: here, for example, explicit physical horror gives way to misjudged jokey taunts, until ended by the truly laughable intervention of a fearsome kitty cat. The slide into implausibility gathers pace as the scratched and wounded Krause is nursed by his fading mother in a house surrounded by a growing horde of vengeful pussies. It's never explained why they're afraid of domestic cats, why they're the last of their line, or why they're called Sleepwalkers. Garris is left by Stephen King's typically threadbare script to extract what few frights he can with tricksy camerawork, shock effects, and flesh-ripping gore.