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Ryan Coogler's recent work may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.

Decades later, the comedic star seemed to take inspiration from his predecessor, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist 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, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.

Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want 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 classic from 1988), 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, seeking to find and secure the continuation of his vampire lineage with an heir of his tribe.

Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is discovered 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 leap from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that expertly mixes horror and humor.

Artistic Goals

Fresh off his last installment in the iconic horror series, the director was eager to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it opens up 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 narrative. Among African American film's most acclaimed performers, Bassett gives a powerful acting alongside her co-star, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.

As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section packed with seduction, as mortality and damnation are at stake. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.