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The director's latest project may have revitalized the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something majestic, giving his figure 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 protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir 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 Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its place in the canon 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 want a dash of humor with your scares this spooky season.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his clan.

Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the tone 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 move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, the star wanted to subvert expectations by diving into a pure scary movie 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 film hits its stride, it unfolds to its strengths — like its diverse ensemble.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the narrative. One of Black cinema’s most praised performers, she gives a powerful performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her beliefs.

As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film ends with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film shows moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful entry characterized by its bold style and memorable acting.