Wolves at the Door is a 2016 American horror film directed by John R. Leonetti and written by Gary Dauberman.

The film is loosely based on the murder of Sharon Tate, the pregnant wife of Roman Polanski, and her friends in 1969 by members of the Manson Family, and, though not considered an installment in the franchise, takes place within The Conjuring Universe.

[2] The cast features Katie Cassidy, Elizabeth Henstridge, Adam Campbell and Miles Fisher as four friends who are stalked and murdered by a group of intruders at a farewell party, with Eric Ladin reprising his role as Detective Clarkin from Leonetti's 2014 film Annabelle.

"[3][4] In 1969, John and Mary, a married couple asleep in their bed, are awakened in the middle of the night by knocks on their doors and windows.

Later, the intruders write messages in blood on the walls of the house, but leave before Detective Clarkin and the police arrive at the scene.

When the two hear Jay screaming, they return to discover his dead body and try to hide throughout the house as the intruders stalk them.

On May 8, 2015, John R. Leonetti, was announced as the director of Wolves at the Door for New Line Cinema, with Gary Dauberman as screenwriter and Peter Safran as producer.

The project was described as "a home invasion thriller set in the 1960s but is not a retelling of the actual events, nor will it reference any Manson connection.

"[6] Casting was announced in May 2015, with Katie Cassidy playing the lead role of Sharon,[7] alongside Miles Fisher as Jay,[5] Elizabeth Henstridge as Abigail,[8] and Adam Campbell as Wojciech.

[14] Linda Marric of HeyUGuys gave the film two out of five stars, stating: "On the whole Wolves At The Door delivers some stellar performances and a genuinely terrifying story, but is largely let down by its makers inability to understand that there are limits to what can and cannot be shown on screen when it comes to the retelling of real life murders.

[16] Mark Mukasa of The Upcoming gave the film one star, criticizing it for not "bringing anything new to the table" and noting: "it ends up being an unending stream of generic clichés in a genre already (at times unfairly) maligned for its derivativeness.

"[17] Terry Staunton of Radio Times criticized the film's tension and remarked that "Cassidy and co are portrayed as such irritating "beautiful people" that some may find themselves reluctant to root for them.

"[19] He later called it the worst film of the year, saying it is a "a repellently exploitative entry in the already sordid “Manson movies” canon.