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Ryan Coogler's recent project may have revitalized the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.

Years afterward, the comedic star appeared to draw inspiration from Marshall, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the canon by juggling all three while honoring the heritage of the category.

Released 30 years ago 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 spooky season.

A Tale of Two Cities

Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his clan.

Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a movie that handily balances horror and humor.

Artistic Goals

Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its strengths — like its diverse ensemble.

The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed performers, she delivers a powerful performance alongside Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the humor and fear, even when employed by other actors).

Gothic Intrigue

When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.

As the story progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section filled with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film flashes glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but influential film defined by its bold style and memorable acting.