Ryan Coogler's recent project may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven'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 tales of African American undead can be humorous, terrifying, and thought-provoking all at once, earning its place in the canon by juggling all three while honoring the subgenre's legacy.
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.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming 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 mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy 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 artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, she gives a commanding acting alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her roommate, creates conflict in 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 more darkly romantic, including transformations and discoveries of heritage. This leads to a final section packed with seduction, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. Over time, it found new life as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but impactful film defined by its bold style and unforgettable performances.
