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Ryan Coogler's recent project may have revitalized the idea of Black vampires, but the origins of this subgenre trace 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 cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.

Debuted three decades back on October 27th, 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 Halloween.

An Urban Vampire Story

Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.

The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump 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. Groovy Blaxploitation-style music kicks in, establishing the tone for a movie that expertly mixes horror and humor.

Artistic Goals

Recently after his last installment in the iconic horror series, Craven was eager to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding acting with Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (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 enhances the comedy and horror, even when employed by other actors).

Gothic Intrigue

When the two leads meet and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.

As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but impactful entry characterized by its daring approach and unforgettable performances.