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Ryan Coogler's recent work may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most iconic 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 character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take a cue from his predecessor, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its place in the canon by juggling all three while respecting the heritage of the category.

Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your scares this spooky season.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his tribe.

The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector 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, run into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes scares and laughs.

Directorial Ambitions

Fresh off his last installment in the iconic horror series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to subvert expectations by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds 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 (the actor), brings a crime-drama edge to the story. Among African American film's most acclaimed performers, Bassett delivers a powerful performance with her co-star, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by other actors).

Dark Seduction

When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the tension heightens, the fear escalates, 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 murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.

As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a third act filled with temptation, as mortality and damnation are at stake. The film concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful film characterized by its bold style and memorable acting.