Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in the director's take on the African American horror niche: 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 Black vampire stories can be funny, terrifying, and thought-provoking all at once, securing its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, Murphy wanted to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. Among African American film's most praised performers, she delivers a powerful performance alongside her co-star, a familiar face from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment hang in the balance. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an underappreciated but influential film characterized by its daring approach and memorable acting.
