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The director's latest project may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.

From Zamunda to Brooklyn

Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his clan.

Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting 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 make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the movie hits its stride, it unfolds to its assets — like its eclectic cast.

The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the narrative. Among Black cinema’s most praised performers, Bassett delivers a powerful performance alongside Payne, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair 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 utilized by other actors).

Dark Seduction

When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — 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 kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.

As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a third act packed with seduction, as mortality and damnation are at stake. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry 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 in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but influential entry defined by its bold style and unforgettable performances.