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The director's latest project may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, securing its position in the canon by juggling all three while respecting the subgenre's legacy.

Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your frights this Halloween.

A Tale of Two Cities

Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation 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 mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) 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 transform into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances horror and humor.

Creative Visions

Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). At the same time, Murphy wanted to defy assumptions by diving into a pure scary movie based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.

Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most praised performers, Bassett delivers a commanding performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when employed by other actors).

Dark Seduction

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 sinister attraction becomes the focus. Max’s plan is to remove everything 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 make-up effects to disguise himself as a clergyman and weaken her beliefs.

As the story unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section packed with temptation, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but influential entry defined by its bold style and memorable acting.