a list that is trying to contain every horror film made that is not lost and is found on the…
Vampire in Brooklyn
A comic tale of horror and seduction.
Maximillian, the lone survivor of a race of vampires, comes to Brooklyn in search of a way to live past the next full moon. His ticket to survival is Rita, a NYPD detective who doesn't know she's half vampire -- and Maximillian will do whatever's necessary to put her under his spell.
After about half an hour of watching Vampire in Brooklyn I came to the realisation that I wouldn't get any less out of it if I was asleep. For the sake of self-preservation my brain wouldn't allow most of the plot to even register but from what I did gather there seemed to be a lot more input from Eddie Murphy than director Wes Craven (undoubtedly at one of his lowest points here).
The film ranks at the same level as the fifth or sixth instalment in most horror franchises. It goes past the point of easy-watching and into the realm of unengaging drivel.
Props to Ebert for actually managing to reiterate the plot in his review, I struggled to…
A horror-comedy that is at its best when it is leaning separately toward either horror or comedy but not both, Wes Craven's "Vampire in Brooklyn" gives its audience Eddie Murphy at the peak of his influence in Hollywood but not the peak of his talent. A watchable film that feels like a vanity project, there are some laughs and some gore but nothing else remarkable.
Revolving around a vampire who is searching for a half-vampire mate to ensure his own survival, "Vampire in Brooklyn" finds Eddie Murphy's undead Maximillian traveling to New York to begin his search. There he meets a cadre of colorful characters, including Angel Bassett's police woman. There is a touch of romance to go along with…
Evil is good and ass is good, and if you find you a piece of evil ass, WOO!
I cringe at the thought of the kindly soft-spoken Wes Craven attempting to direct 1990s Eddie Murphy into something resembling acting. I mention the 90s because Murphy was still high on himself at the time as evidenced by him turning the film into an overlong SNL skit.
"It was a wolf godammit! A big black stinking ass wolf. The motherfucker jumped of the boat and ran over there. And when it got there the son of a bitch turned into a man. He did the flippflopp shit on me... Just like whore i used to know in Detroit back in -62. I'd go over her house on saturday night... she loved me, man. I'd come through the door, she's a man! Flippfloppin' and shit. You ever seen a motherfucker flippflopp on you and shit like that? In your face trying to flippflopp and shit!"
The most interesting thing about this film is that the above is the funniest part of the film, and it's not even said…
"You should get a Oscar for that shit."
Alas, not the lost classic that Beverly Hills Cop III turned out to be, although if you squint this could almost be another Murphy/Landis joint. Instead we have Wes Craven, who brings a characteristic sheen to the visual effects and a lot of snazzy camera moves, but who's just not as adept at incorporating Eddie's vanity into a wacky entertainment as John Landis is (he does get to fit in a nightmare sequence or two and some blood oozing through a keyhole, fun). I think the thing that really kills it is that it takes at least a good 30-40 minutes to realize that Murphy is going full-on villain here, and despite…
This film was quite poor.
A well directed Eddie Murphy ego project with that mid nineties Paramount backlot sheen. A wonky time capsule that occasionally shines but not even Angie Bassett can save the film from it's shan script.
I've always been hot and cold with this film I loved it when I saw it at the cinema went off it when it came out on VHS fell in love with it on dvd in the early 2000s then struggled to watch it again after that however resisting it tonight I think I have settled on an opinion it has moments where it has such a good vibe and is genuinely funny then moments so silly you cringe its really dated now and a proper 90s time capsule which adds to its appeal
Why Wes Craven ever thought it would be a good idea to poorly rehash the themes of racial tension and socio-political imbalance he explored so deftly in the magnificently demented but insightfully moral The People Under the Stairs in an Eddie Murphy vanity project, no one will ever know. Vampire in Brooklyn is a tonally adrift would-be horror comedy, fatally diseased by Murphy's terminally unfunny and incongruous humour. His bewigged, slimy get-up as Maximillian may just be the ugliest vampire to ever grace a movie - and I've seen Vampire's Kiss! The otherwise great Angela Bassett is hopeless to save this turgid mess.
There is a scene where Eddie Murphy makes a German Shepard spontaneously explode by staring at it.
And yet people keep trying to convince me that Wes Craven is a good director.
This movie closes with UB40's cover of Superstition, and that should tell you everything you need to know.
I'm just going to assume Wes was badly in debt and everyone else involved in this film were on outrageous amounts of cocaine. It will help me sleep better at night.
Schwarzes Kino über Vampire im schwärzesten Viertel New Yorks. Also ich weiß nicht, der Film hat seinen ganz eigenen Charme, die Idee ist ganz nett aber die Schauspieler und die Inszenierung verflachen mit jeder Minute des Films weiter und geben sich selbst der Lächerlichkeit preis, was ich wirklich schade finde, da in dem Ganzen ein großes Potential gesteckt hatte.
Während man am Anfang noch einen gruseligen Schocker mit lustigen Sprüchen erwartet, verflacht das ganze im Verlauf der Story zu einer "Pretty Woman in Blood" und man glaubt einfach nicht, dass man im Vorspann doch tatsächlich den Namen von Wes Craven gelesen hat, der das ganze inszeniert haben soll. Beinahe traurig ist das Ganze dann spätestens wenn das ganze in Klamauk…
It's hard not to admire the balancing act being attempted here, but Vampire in Brooklyn is so poorly directed and produced that it's kind of a disaster. There are too many scenes of mumbled dialogue under bad prosthetics, shot in a certain "Cinemax After Dark" light. The comedic scenes are awkward, the suspense scenes are often unintentionally funny, and the "ghetto" sets look like Sesame Street. Turns out the sensibilities of Craven and Murphy are tonally counterproductive... who knew?
And apparently Wes Craven learned everything he knows about the black experience from concept shots of Good Times.
Step One: Go to www.random.org.
Step Two: Pick a Number.
Step Three: GET WEIRD!*
*OK, this list kinda started out…