30 Years Ago, Wes Craven and Eddie Murphy Collaborated for an Forgotten Cinematic Jewel

Ryan Coogler's latest project may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.

Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, earning its place in the hall of fame by juggling all three while respecting the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your scares this spooky season.

An Urban Vampire Story

Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges 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 ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.

Artistic Goals

Recently after his final entry in the iconic horror series, the director was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it opens up to its strengths — like its eclectic cast.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most praised performers, she delivers a commanding acting alongside Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).

Dark Seduction

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He kills her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.

As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a third act filled with seduction, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a potential sequel, 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. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful entry characterized by its daring approach and unforgettable performances.