Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and intellectually stimulating all at once, earning its position in the canon by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack 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, the director 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 exploited horror tropes for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. Among African American film's most praised actresses, Bassett delivers a commanding performance alongside Payne, a familiar face from the era. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett 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 everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the story progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment are at stake. 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 received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful film defined by its bold style and unforgettable performances.
