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Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.

Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, earning its position in the canon by balancing all three while honoring the heritage of the category.

Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.

An Urban Vampire Story

Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his clan.

Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a movie that expertly mixes horror and humor.

Creative Visions

Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy wanted to subvert expectations by diving into a straight horror based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.

Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of African American film's most acclaimed actresses, Bassett delivers a commanding performance alongside her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).

Gothic Intrigue

When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.

As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. Over time, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but impactful entry defined by its bold style and memorable acting.