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The director's latest work may have revitalized the concept of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking all at once, securing its position in the canon by balancing all three while respecting the subgenre's legacy.

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 dash of humor with your scares this spooky season.

An Urban Vampire Story

Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his clan.

Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that handily balances scares and laughs.

Directorial Ambitions

Fresh off his final entry in the Nightmare on Elm Street series, Craven 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 mined horror tropes for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its strengths — 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), adds a procedural element to the story. Among African American film's most praised actresses, she gives a commanding performance alongside Payne, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper 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 other actors).

Dark Seduction

When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.

As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section filled with seduction, as life and eternal punishment are at stake. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The film flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but impactful film defined by its bold style and unforgettable performances.