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Ryan Coogler's latest work may have revitalized the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while honoring the subgenre's legacy.

Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.

A Tale of Two Cities

Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But rather than traveling from Zamunda 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.

Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. 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 extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a film that handily balances horror and humor.

Directorial Ambitions

Fresh off his final entry in the iconic horror series, Craven was keen to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, the star wanted to defy assumptions by diving into a straight horror based on Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.

The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most praised actresses, she delivers a powerful performance with Payne, a well-known actor from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).

Supernatural Romance

When the two leads meet and the stars appear together, the film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.

As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section packed with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry defined by its bold style and memorable acting.