Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration 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 heir of Dracula whose ancestors 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 simultaneously, securing its place in the canon by balancing all three while honoring the subgenre's legacy.
Debuted three decades back 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 (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than journeying from a fictional kingdom 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 clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, the star aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The conflict of those creative goals explains 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.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful performance alongside Payne, a familiar face from the time. In the meantime, the lead spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo 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 throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the story progresses, 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 film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but impactful entry defined by its daring approach and unforgettable performances.
