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Ryan Coogler's recent work may have breathed new life into the concept of African American undead, but the origins of this subgenre date back to the Blaxploitation era. One of 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 regal, giving his figure an historical origin as Mamuwalde, a proud African prince.

Years afterward, the comedic star seemed to take inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled 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 humorous, terrifying, and thought-provoking all at once, earning its position in the canon by balancing all three while honoring the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.

An Urban Vampire Story

Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his clan.

Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a movie that handily balances horror and humor.

Directorial Ambitions

Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. Among Black cinema’s most acclaimed performers, she gives a powerful performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).

Supernatural Romance

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 darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.

As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an underappreciated but influential film defined by its daring approach and unforgettable performances.