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The director's recent work may have revitalized the idea of African American undead, but the origins of this subgenre date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy seemed to take a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while honoring the subgenre's legacy.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.

From Zamunda to Brooklyn

Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure 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 inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, setting the tone for a film that handily balances horror and humor.

Artistic Goals

Recently after his final entry in the iconic horror series, Craven was eager to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie hits its stride, it unfolds to its assets — like its eclectic cast.

The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among Black cinema’s most praised performers, Bassett gives a commanding acting with Payne, a familiar face from the era. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by other actors).

Gothic Intrigue

When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.

As the story unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a final section packed with seduction, as mortality and damnation are at stake. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. 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 daring approach and unforgettable performances.