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The director's latest work may have revitalized the concept of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, securing its position in the hall of fame by balancing all three while respecting the subgenre's legacy.

Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need 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), Maximillian is pulled to New York City. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.

Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes horror and humor.

Artistic Goals

Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film hits its stride, it opens up to its strengths — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most praised actresses, she delivers a powerful acting alongside her co-star, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by the cast).

Gothic Intrigue

When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.

As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it found new life as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film flashes moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but influential entry characterized by its bold style and unforgettable performances.