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Ryan Coogler's latest project may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the part into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.

Decades later, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped 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, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by balancing all three while honoring the subgenre's legacy.

Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.

An Urban Vampire Story

Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.

The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a film that handily balances horror and humor.

Directorial Ambitions

Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. One of Black cinema’s most praised performers, she delivers a powerful performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by other actors).

Dark Seduction

When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, 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 housemate, drives a wedge 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 faith.

As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act packed with seduction, as mortality and damnation hang in the balance. The film ends with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.