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Ryan Coogler's recent project may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the canon by juggling all three while respecting the subgenre's legacy.

Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this Halloween.

An Urban Vampire Story

Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges 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 inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, run into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a movie that handily balances horror and humor.

Directorial Ambitions

Fresh off his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, the star aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its assets — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the narrative. One of African American film's most acclaimed actresses, she delivers a commanding acting with Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’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 the star's comedic style enhances the comedy and horror, even when utilized by other actors).

Dark Seduction

When the two leads meet and the stars appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.

As the story progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as mortality and damnation are at stake. The film ends with a teaser hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but influential film characterized by its bold style and memorable acting.