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The director's latest project may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.

Years afterward, the comedic star seemed to take inspiration from his predecessor, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking all at once, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.

Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this spooky season.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his tribe.

Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, run into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a movie that expertly mixes scares and laughs.

Artistic Goals

Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy aimed to subvert expectations by venturing into a straight horror based on vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most acclaimed performers, she delivers a commanding acting with her co-star, a familiar face from the time. In the meantime, 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. (Seeing Julius descend further into his ghoulish role 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 employed by other actors).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett 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 remove everything Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.

As the story progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a third act packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but impactful film defined by its bold style and memorable acting.