Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that expertly mixes horror and humor.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, the star aimed to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most praised actresses, Bassett gives a commanding performance with Payne, a familiar face from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation are at stake. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film shows moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but influential entry defined by its daring approach and memorable acting.
