Ryan Coogler's latest work may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, deepening his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, she delivers a commanding performance with her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, 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 murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment hang in the balance. The film ends with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The film shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.
