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Ryan Coogler's recent work may have breathed new life into the idea of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the role into something majestic, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.

Years afterward, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled 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 thought-provoking simultaneously, earning its place in the canon by balancing all three while respecting the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a little comedy with your scares this spooky season.

From Zamunda to Brooklyn

Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.

The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that expertly mixes horror and humor.

Artistic Goals

Recently after his last installment in the iconic horror series, the director was keen to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds 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), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, Bassett gives a powerful performance with Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.

As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a third act packed with seduction, as mortality and damnation are at stake. The movie concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but influential entry defined by its daring approach and memorable acting.