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The director's latest project may have revitalized the concept of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, 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 currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of 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.

Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes scares and laughs.

Artistic Goals

Fresh off his final entry in the iconic horror series, Craven was keen to move beyond 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 comedy and genuine scares). At the same time, the star wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.

The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. One of Black cinema’s most acclaimed performers, Bassett gives a powerful performance alongside her co-star, a familiar face from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized 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 tension heightens, 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 kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.

As the story progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation hang in the balance. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but impactful entry characterized by its bold style and unforgettable performances.