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Ryan Coogler's latest work may have revitalized the idea of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in Wes Craven's take 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 persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking all at once, earning its position in the canon by balancing all three while honoring the heritage of the category.

Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his clan.

Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone 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 create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.

Angela Bassett, 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 narrative. One of African American film's most acclaimed performers, she delivers a powerful acting with her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when employed by the cast).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.

As the story progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with temptation, as mortality and damnation are at stake. The film ends with a stinger hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential film defined by its bold style and memorable acting.