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The director's latest project may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the heritage of the category.

Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your scares this spooky season.

An Urban Vampire Story

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his tribe.

Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances scares and laughs.

Creative Visions

Recently after his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by venturing into a straight horror rooted in vampire mythology. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the narrative. Among Black cinema’s most acclaimed performers, Bassett gives a powerful acting with her co-star, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.

As the story progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a final section filled with seduction, as mortality and damnation are at stake. The film ends with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but impactful entry defined by its daring approach and memorable acting.