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The director's recent project may have revitalized the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.

Decades later, the comedic star appeared to draw a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: 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 edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its place in the hall of fame by balancing all three while honoring the heritage of the category.

Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.

A Tale of Two Cities

Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.

Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, dart into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a movie that handily balances horror and humor.

Creative Visions

Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, the star aimed to defy assumptions by diving into a pure scary movie 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 opens up to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of African American film's most acclaimed actresses, she delivers a commanding performance alongside Payne, a familiar face from the era. Meanwhile, 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. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).

Dark Seduction

When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her roommate, drives a wedge 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 story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.