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Ryan Coogler's latest project may have breathed new life into the idea of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Decades later, Eddie Murphy 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. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. 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 juggling all three while respecting the heritage of the category.

Debuted 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.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges 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 aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, run into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes scares and laughs.

Creative Visions

Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, the star wanted to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the film clicks into high gear, it opens up to its assets — like its eclectic cast.

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. Among Black cinema’s most acclaimed performers, she gives a powerful performance alongside her co-star, a familiar face from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by other actors).

Supernatural Romance

When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.

As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an underappreciated but impactful entry defined by its daring approach and unforgettable performances.