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The director's latest work may have breathed new life into the concept of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: 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 funny, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while honoring the heritage of the category.

Released three decades back on Oct. 27, 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 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 the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his tribe.

Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes scares and laughs.

Creative Visions

Fresh off his final entry in the iconic horror series, Craven was eager to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, the star aimed to subvert expectations by venturing into a straight horror based on vampire mythology. The clash of those creative goals 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.

The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among Black cinema’s most praised performers, Bassett gives a powerful acting with Payne, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by the cast).

Dark Seduction

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 darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.

As the story unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a final section packed with seduction, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and unforgettable performances.