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Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.

Decades later, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation 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 edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, securing its place 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 need a dash of humor with your frights this spooky season.

An Urban Vampire Story

Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline 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 found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a movie that expertly mixes scares and laughs.

Creative Visions

Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the narrative. Among Black cinema’s most acclaimed actresses, Bassett gives a powerful performance alongside Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything 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 plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act packed with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential entry defined by its bold style and memorable acting.