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The director's latest work may have revitalized the idea of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.

Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and intellectually stimulating all at once, earning its place in the hall of fame by juggling all three while respecting the heritage of the category.

Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.

A Tale of Two Cities

Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe.

The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a movie that handily balances horror and humor.

Directorial Ambitions

Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it unfolds to its strengths — like its diverse ensemble.

The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. One of African American film's most acclaimed actresses, she gives a commanding acting with Payne, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair 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 throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her beliefs.

As the story progresses, it becomes more darkly romantic, including metamorphoses 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 teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but influential film characterized by its daring approach and unforgettable performances.