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The director's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Decades later, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled 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 intellectually stimulating all at once, securing its position in the canon by balancing all three while honoring the subgenre's legacy.

Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your frights this Halloween.

A Tale of Two Cities

Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an offspring of his tribe.

The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a film that handily balances horror and humor.

Artistic Goals

Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims explains 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 strengths — like its eclectic cast.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the narrative. One of African American film's most acclaimed performers, Bassett delivers a powerful performance with her co-star, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).

Supernatural Romance

When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict 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 more darkly romantic, including metamorphoses and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation are at stake. The film ends with a teaser hinting at a possible follow-up, 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. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential film characterized by its bold style and memorable acting.