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The director's recent work may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic pioneering films 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 caricature, the performer elevated the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, earning its place in the canon by juggling all three while respecting the heritage of the category.

Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your scares this spooky season.

An Urban Vampire Story

Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his clan.

Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, setting the tone for a film that expertly mixes horror and humor.

Artistic Goals

Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, the star wanted to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. 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), brings a procedural element to the narrative. Among African American film's most acclaimed actresses, she gives a commanding acting alongside her co-star, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor'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 highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by other actors).

Dark Seduction

When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, 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 intervene. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.

As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with seduction, 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 film been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity 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 movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.