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Ryan Coogler's recent work may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy seemed to take a cue from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, securing its position in the canon by balancing all three while respecting the heritage of the category.

Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your scares this spooky season.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring 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 found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances horror and humor.

Directorial Ambitions

Fresh off his final entry in the iconic horror series, Craven was keen 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). Meanwhile, Murphy aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the narrative. Among African American film's most acclaimed actresses, she delivers a powerful performance with her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’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 comedy and horror, even when employed by the cast).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars finally share the screen, 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 everything Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.

As the plot progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a third act packed with temptation, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but influential entry defined by its daring approach and unforgettable performances.