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Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Years afterward, the comedic star seemed to take inspiration from Marshall, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant 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, terrifying, and thought-provoking all at once, earning its place in the canon by juggling all three while honoring the subgenre's legacy.

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 little comedy with your scares this Halloween.

A Tale of Two Cities

Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his clan.

The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) 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 transform into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that handily balances horror and humor.

Artistic Goals

Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond 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 genuine scares). Meanwhile, the star wanted to defy assumptions by venturing into a straight horror rooted in vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its eclectic cast.

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 procedural element to the story. Among Black cinema’s most praised actresses, Bassett gives a commanding acting with Payne, a well-known actor from the era. Meanwhile, the lead 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 skin decays during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).

Dark Seduction

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.

As the plot progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but impactful film defined by its daring approach and memorable acting.