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Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, 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, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the part into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take a cue from his predecessor, 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 ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, earning its place in the canon by juggling all three while honoring the heritage of the category.

Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your frights this spooky season.

From Zamunda to Brooklyn

Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.

Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances scares and laughs.

Artistic Goals

Recently after his last installment in the iconic horror series, Craven was keen to move beyond 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). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film hits its stride, it unfolds to its assets — like its eclectic cast.

Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding performance alongside Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by the cast).

Gothic Intrigue

When the two leads meet and the stars finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.

As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but influential film defined by its daring approach and unforgettable performances.