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Ryan Coogler's latest project may have revitalized the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star appeared to draw a cue from Marshall, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's 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 proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by juggling all three while honoring the subgenre's legacy.

Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your frights this Halloween.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his tribe.

Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that handily balances scares and laughs.

Creative Visions

Recently after his final entry in the iconic horror series, the director was keen to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of African American film's most acclaimed actresses, Bassett delivers a powerful performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.

As the plot progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but impactful film characterized by its bold style and unforgettable performances.