Three Decades Back, Wes Craven and the Comedy Legend Collaborated for an Underrated Horror Masterpiece

The director's latest work may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.

Years afterward, the comedic star appeared to draw a cue from Marshall, deepening his own character's mythology in the director's take 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 persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, earning its position in the hall of fame by juggling all three while honoring the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your scares this spooky season.

An Urban Vampire Story

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 a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an heir of his clan.

The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship 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 leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a film that expertly mixes scares and laughs.

Creative Visions

Fresh off his final entry in the iconic horror series, Craven was keen to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of Black cinema’s most praised performers, she gives a commanding performance with Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper 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 employed by the cast).

Dark Seduction

When the two leads meet and the stars finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.

As the story progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a third act filled with temptation, as mortality and damnation are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.