Ryan Coogler's recent work may have revitalized the idea of Black vampires, but the origins of this subgenre trace 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 bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
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 little comedy with your frights this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager 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). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash 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 clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. Among African American film's most praised actresses, she delivers a commanding performance alongside her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming 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 ghoulish role as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, 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 kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a final section packed with seduction, as mortality and damnation hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a cult favorite, with reviewers later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful entry defined by its bold style and memorable acting.
