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The director's latest work may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.

Decades later, Eddie Murphy seemed to take a cue from his predecessor, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears 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 humorous, terrifying, and intellectually stimulating all at once, earning its place in the canon by juggling all three while honoring the heritage of the category.

Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your scares this spooky season.

From Zamunda to Brooklyn

Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his tribe.

The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that expertly mixes horror and humor.

Directorial Ambitions

Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it opens up to its assets — like its eclectic cast.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most praised actresses, Bassett gives a powerful acting with Payne, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style enhances the humor and fear, even when employed by the cast).

Supernatural Romance

When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.

As the plot unfolds, it becomes more darkly romantic, including transformations 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 stinger suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.