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The director's recent work may have revitalized the idea of African American undead, but the roots of this subgenre date back to the Blaxploitation era. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.

Decades later, the comedic star appeared to draw inspiration from Marshall, enriching his own protagonist's lore in the director's interpretation 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 brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, earning its position in the canon by juggling all three while honoring the subgenre's legacy.

Debuted three decades back on October 27th, 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 scares this spooky season.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.

The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that handily balances scares and laughs.

Creative Visions

Recently after his final entry in the iconic horror series, Craven was eager to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy aimed to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, she gives a powerful performance alongside Payne, a well-known actor from the time. In the meantime, the lead spends most of his screen time with his comedic partner, forming a hilarious 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 standout moment of how the star's comedic style elevates the humor and fear, even when employed by other actors).

Gothic Intrigue

When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her partner, 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 packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but impactful entry defined by its bold style and memorable acting.