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Ryan Coogler's latest project may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, Eddie Murphy appeared to draw 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 descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your frights this spooky season.

A Tale of Two Cities

Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir 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 ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that expertly mixes scares and laughs.

Directorial Ambitions

Fresh off his last installment in the Nightmare on Elm Street series, the director was eager 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 laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its strengths — like its eclectic cast.

The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett delivers a commanding acting alongside Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, 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 skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).

Gothic Intrigue

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.

As the story unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section packed with seduction, as life and eternal punishment hang in the balance. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an underappreciated but influential entry characterized by its daring approach and memorable acting.