Ryan Coogler's latest work may have breathed new life into the concept of African American undead, but the origins of this subgenre date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. One of African American film's most praised performers, she delivers a commanding performance with her co-star, a well-known actor from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
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. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a third act filled with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an underappreciated but impactful film defined by its bold style and unforgettable performances.
