The director's latest work may have revitalized the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie 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, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven'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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. 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 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 dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among Black cinema’s most praised actresses, Bassett delivers a powerful performance alongside Payne, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a third act packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a stinger suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an underappreciated but influential entry defined by its daring approach and unforgettable performances.
