Mike Flanagan has earned worldwide recognition for his films and television projects, but few compliments have resonated as strongly as one recently shared by horror legend Stephen King. Just days ago, King publicly praised Flanagan on the social media platform X, going so far as to call him
Mike Flanagan being the Quentin Tarantino of horror.
This remarkable acclaim came in response to Flanagan’s latest Netflix series, The Fall of the House of Usher, which holds an impressive 91% rating on Rotten Tomatoes. Although King did not expand on the comparison, the link between Flanagan and Tarantino reveals surprising parallels in their filmmaking styles and approaches.
The Story Behind ‘The Fall of the House of Usher’ and Its Gothic Depths
The Fall of the House of Usher is an eight-episode miniseries that immerses viewers in the haunting legacy of the Usher family, twins Roderick (played by Bruce Greenwood) and Madeline (played by Mary McDonnell), who reign over a powerful pharmaceutical empire named Fortunato Pharma. Adapted primarily from the works of Edgar Allan Poe, the series frames its narrative through Roderick’s confession to assistant district attorney C. Auguste Dupin (Carl Lumbly) after the mysterious deaths of all six of his children. The show weaves direct references and subtle homages to Poe’s writing into the gradual unraveling of the Usher family’s dark secrets, highlighting Flanagan’s deft storytelling.
What truly distinguishes this series from Flanagan’s earlier Netflix efforts is its bold engagement with real-world social issues. While past works like Midnight Mass, The Haunting of Bly Manor, and The Midnight Club explore intensely personal, often intimate horror stories, The Fall of the House of Usher uses its Gothic atmosphere to confront broader societal problems. It delivers piercing commentary on the opioid crisis gripping America today, alongside incisive critiques of income inequality and the extreme exploitation entwined with late-stage capitalism.
The narrative centers on how the lust for wealth and legacy corrupts individuals, as exemplified by Roderick Usher‘s rise atop a mountain of human suffering. Innocence and morality are sacrificed for greed, exposing a chilling cycle of generational destruction. This layered family saga does not shy away from showing the grim realities behind privilege and corporate power, providing a rare opportunity for viewers disillusioned by contemporary social ills to see ghastly consequences visit those who perpetuate such systems.
What Links Mike Flanagan to Quentin Tarantino in Style and Substance?
The gruesome tone of The Fall of the House of Usher particularly fuels the comparison to Quentin Tarantino, a filmmaker renowned for his distinctive use of stylized violence. The series’ second episode, featuring an adaptation of Poe’s
The Masque of the Red Death
, stands out for its strikingly graphic portrayal of a mass casualty event, with a death toll that could rival the bloody scenes in Tarantino’s own iconic movies.
Flanagan’s depiction of gore leans toward the theatrical and unsettling, recalling Tarantino’s flair for exaggerated brutality. Memorable scenes include a pendulum execution and a horrifying live burial, each delivered with a macabre relish reminiscent of Tarantino’s most violent sequences in films like Django Unchained or Inglourious Basterds. These moments underline both filmmakers’ shared willingness to shock audiences through vivid, sometimes sadistic imagery.
Beyond the gore, King’s comparison underscores how both men imprint their unique creative voices onto their work. Flanagan’s blend of supernatural elements, realistic character development, and existential monologues is clearly on display throughout the series. Its non-linear storytelling structure, alternating between past and present, is a hallmark of Flanagan’s style seen previously in series such as The Haunting of Hill House and The Haunting of Bly Manor. Each episode’s focus on a different character further demonstrates his narrative technique to deepen the thematic scope and backstory. These creative choices contribute to Flanagan’s distinctive identity as a horror auteur, solidifying his position alongside Tarantino within their respective cinematic realms.
Stephen King’s Praise Highlights Flanagan’s Growing Influence in Horror
Flanagan stands out as one of the few contemporary filmmakers whose career invites a direct comparison to Tarantino. Both directors have built their reputations on a relatively small but highly impactful set of works that explore and stretch their genres’ boundaries. Whereas Tarantino ventures across crime, western, and drama genres, Flanagan’s focus remains largely in horror—though his films often transcend simple scares, exploring themes of found family, grief, and identity.
Flanagan’s recent release, The Life of Chuck, exemplifies his willingness to experiment with non-linear narratives and broader emotional tones, diverging from straightforward horror to embrace heartfelt storytelling. His work frequently balances supernatural thrills with deeply human stories, including affirmative portrayals of queer relationships and complex family dynamics.
By dubbing Flanagan the “Quentin Tarantino of horror,” Stephen King honors the rich style and influence that Flanagan brings to the genre, amplifying attention on the filmmaker’s achievements. Their ongoing collaboration, highlighted by their upcoming project adapting King’s Carrie, marks a significant creative alliance and mutual respect between two masters of their craft.
King’s endorsement serves as a reminder of the importance of solidarity in the fast-moving, competitive entertainment industry. In a media landscape flooded with content, supportive recognition between artists helps ensure that deserving creators like Flanagan receive the spotlight they merit, even amid the noise of Hollywood’s expanding crowd.
