The latest Netflix horror miniseries, “The Fall of the House of Usher“, finds Mike Flanagan continuing his quest to be one of the most interesting filmmakers in modern horror. Beginning with 2018’s “The Haunting of Hill House” and continuing through 2020’s “The Haunting of Bly Manor” and 2021’s “Midnight Mass” (his best for the streaming service), Flanagan has been Netflix’s go-to for well designed adaptations of famous novels; although “Midnight Mass” was an original work. 

This time, Flanagan, his co-director Michael Fimognari (the two split the 8 episodes evenly), and their team of writers tackle one of Edgar Allen Poe’s most respected stories. The scripts for each of the eight episodes use the basis of Poe’s story to craft something unique and entertaining, mixing horror and drama in almost equal measure. Every segment takes its title from a Poe story (“The Black Cat”, “The Pit and the Pendulum”, etc.); each one using important pieces from the chosen stories. One of the smartest things about this work is how it uses the main story to pull from many Edgar Allan Poe pieces, ending up with a macabre buffet of the best of his writings. 

The always great Bruce Greenwood is the ruthless Roderick Usher, a morally corrupted CEO of a crooked pharmaceutical company whose dark past returns to (quite literally) haunt him. In the original tale, it was Roderick’s sister Madeline who died and terrorized him, forever connecting them to the house of Usher. For this miniseries, Poe’s story is expanded to tell of Roderick’s woes and waking nightmares due to the unexplained deaths of his adult children. One by one, the offspring meet their fates in horrific ways, but their ghosts return to their father to help unlock the secrets of the past. 

Mary McDonnell is Madeline and brings gravitas to the character, playing her armed with a vicious streak born of the power she and Roderick wield. McDonnell is tough and ruthless, but her love for her brother is limitless and undying. For the Usher siblings, it is money, manipulation, and an unleashed ruthlessness that guides their decisions. 

The full supporting cast does extremely well, with Henry Thomas the standout as son Fredrick Usher, a coked-out, ponytail-wearing, ball of nervous insecurity. Thomas has worked with Flanagan on almost all of his directorial projects and this one gives him one of his most flamboyant and creative roles. 

Carla Gugino (so great in Flanagan’s adaptation of Stephen King’s “Gerald’s Game”) is darkly alluring in a role that combines the crux of Poe’s tale with the arc of the Madeline character in the original story. For years now, Gugino has etched out a nice career in well-drawn character roles (mostly in genre films). While I shall not expose her character’s place in the story, as “Verna”, the actress adds another fine performance to her repertoire.

Spoilers (and an innate respect for wanting viewers to discover the many layers to this inventive work on their own) prevent me from diving too deep into the story. What I can say is how clever the writers are at blending Poe’s works. Fans of the author will have fun picking through all of Poe’s characters, famous lines, and classic poetry that are peppered through the series. While there have been successful retellings of Poe’s tale (the best being Roger Corman’s 1960 “House of Usher” with Vincent Price), this miniseries feels the most complete. 

It is the smart revisionism that sets Flanagan’s work apart from other adaptations. By expanding the story, the emotional complexities of the piece become more effective. Greenwood’s depth and the care the writers took in crafting his regret and the aftermath of his sins give more humanity to the character. No longer is Roderick Usher someone of gothic lore. This is a man in the modern world whose past greed is violently destroying his life and legacy. By the final two episodes, after alienating the audience’s sympathies, Bruce Greenwood will break your heart in a surprisingly touching arc to this richly drawn character. 

While the human drama is a large part of what makes this miniseries successful, the terrors are quite effective. Mike Flanagan knows what works in the horror genre and is armed with full understanding of the importance of creating a chilling atmosphere. Each episode is filled with frightening imagery as Flanagan’s directorial skill gives viewers a proper genre experience filled with ghosts, blood, and death. The unrelenting horrors exist in the shadowy corners of every room and in the waking nightmares of the characters. Flanagan and Mike Fimognari (who also serves as cinematographer) assure that certain expertly designed shots will have audiences frozen to their chairs, mercifully keeping jump scares (the lazy way to startle an audience) to a minimum.

“The Fall of the House of Usher” is a compelling experience and another triumph for Mike Flanagan and his team. With sharp focus on character, a great cast, and the ability to provide real chills, this is one of finest adaptations based on the works of Edgar Allen Poe. 

The Fall of the House of Usher

Written by Justina Ireland, Dani Parker, Emily Grinwis, Jamie Flanagan, Matt Johnson, Rebecca Klingel, Kieli Sanchez, & Mike Flanagan/Based on the short story by Edgar Allen Poe

Directed by Mike Flanagan & Mike Fimognari

8 Episodes, Netflix/Intrepid Pictures