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Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Decades later, the comedic star seemed to take a cue from his predecessor, 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 forebears escaped 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 funny, frightening, and intellectually stimulating all at once, securing its place in the canon by juggling all three while respecting the heritage of the category.

Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.

From Zamunda to Brooklyn

Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his tribe.

Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances scares and laughs.

Directorial Ambitions

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 exploited horror tropes for both comedy and real fear). At the same time, Murphy wanted to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. Among Black cinema’s most praised actresses, she delivers a commanding acting with her co-star, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style elevates 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 movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.

As the story progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as mortality and damnation hang in the balance. The film ends with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but influential film characterized by its daring approach and unforgettable performances.