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The director's recent project may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.

Years afterward, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.

Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your scares this spooky season.

From Zamunda to Brooklyn

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 Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.

Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a film that handily balances scares and laughs.

Creative Visions

Fresh off his last installment in the iconic horror series, Craven was keen 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 scary conventions for both laughs and genuine scares). At the same time, the star aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.

The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most praised actresses, Bassett delivers a powerful acting alongside Payne, a familiar face from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor'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 highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).

Supernatural Romance

When the two leads meet and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan 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 clergyman and weaken her beliefs.

As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but influential entry characterized by its bold style and unforgettable performances.