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Ryan Coogler's recent work may have breathed new life into the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the part into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.

Decades later, the comedic star seemed to take a cue from his predecessor, deepening his own character's mythology in the director's take on the Black vampire subgenre: 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 edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while respecting the subgenre's legacy.

Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your scares this Halloween.

From Zamunda to Brooklyn

Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his clan.

Maximillian arrives in New York aboard 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 nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes scares and laughs.

Directorial Ambitions

Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to break from 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 comedy and real fear). Meanwhile, the star wanted to subvert expectations by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it opens up to its strengths — like its eclectic cast.

The acclaimed actress, 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 story. Among Black cinema’s most praised performers, she gives a commanding performance alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).

Supernatural Romance

When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.

As the story progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but impactful entry characterized by its daring approach and memorable acting.