If only I could open this review with a succinct “no comment,” it might convey more than the words I’m struggling to muster from my limited vocabulary. It’s akin to a sudden loss of literacy, an inexplicable feeling of being uneducated, and an inability to articulate any coherent thoughts. The experience feels like embarking on a dreamed-of journey, only to find myself ensnared in a nightmare of shame. This is the disconcerting sensation provoked by “The Fall of the House of Usher.”

The narrative introduces us to the young and ambitious siblings, Roderick Usher (Zach Gilford as young Roderick) and Madeline (Willa Fitzgerald as young Madeline), who enter a bar with the intention of establishing an alibi. The audience is left in the dark about their actions or what transpired, yet they believe they are in control. Verna (Carla Gugino), the bartender, serves a drink and initiates a conversation, subtly revealing knowledge that surpasses her disclosures. This night marks the beginning of a terrifying chapter for the Usher family, leading to the tragic deaths of their children, one after another.

Mike Flanagan’s masterpiece unfolds with the older Roderick Usher (Bruce Greenwood), promising a juicy confession to the renowned prosecutor C. Auguste Dupin. As Roderick begins his story, he reveals that all his children are dead, and he is to blame. Each episode delves into the massive and stormy events befalling the Usher children, a number significant enough to span multiple episodes. However, learning about the offspring does not evoke empathy when they pass away.

The Usher family owns a large pharmaceutical company responsible for a painkiller turning people into addicts, victimizing millions. The family members portrayed are far from angelic, except for Lenore Usher (Kyliegh Curran), embodying kindness and generosity. Despite Lenore being the hope for change, the series suggests a dark fate for the Ushers, a life one would never dream of having.

Without revealing too much, “The Fall of the House of Usher” is an extraordinary and magnificent series that demands immediate viewing. It’s disturbing and undeniably scary, but more importantly, it provokes thought. Carla Gugino’s Verna serves as karma, a devil pursuing those who shouldn’t be alive, offering a chance that comes with consequences. The series is not about life-changing choices leading to a happily ever after; it’s not a fairy tale.

Credit is due to the entire cast; it’s a dream ensemble of actors. Carla Gugino delivers a performance that will linger throughout her illustrious career. Willa Fitzgerald portrays a young and ruthless Madeline, while Mary McDonnell takes over as the older Madeline, showcasing a masterclass of performance. Bruce Greenwood remains consistent in his expected excellence. However, it’s Kyliegh Curran as Lenore Usher who steals the show with a telling and powerful performance.

In conclusion, the film shocks with its portrayal of those who exploit their privileged lives, power, and wealth at the expense of the vulnerable. While the story may not directly send a message to the real world, it underscores that, no matter how rich one is, an empty heart makes them as poor as can be. The Ushers represent individuals lacking decency and compassion, and as the fall begins, you watch until everything crumbles.