Ryan Coogler'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. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and cursed 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 noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in the director'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 funny, terrifying, and thought-provoking simultaneously, earning its position in the canon by balancing all three while respecting the heritage of the category.
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 dash of humor with your frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond 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 comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film 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 relationship with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. Among African American film's most acclaimed actresses, Bassett gives a powerful performance with 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 descend further into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style elevates the humor and fear, 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 darkly seductive chemistry becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her partner, 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 discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The movie ends with a teaser hinting at 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. Over time, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, 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 unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
