The director's recent work may have revitalized the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting 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 Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was eager to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it unfolds to its strengths — 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 (Allen Payne), adds a procedural element to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful acting alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair 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 enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills 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 unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act packed with seduction, as mortality and damnation hang in the balance. The movie ends with a stinger hinting at a potential sequel, one that could have happened 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 applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but impactful film characterized by its bold style and memorable acting.
