A woman alone in a large, secluded house; a walk through the woods and a stranger stalking through the underbrush — this might appear to be a classic horror set-up. But Men is no conventional horror film. At its core it is a story about a central crisis of our times — masculinity and its manifestations; about aggressions great and small; about ancient, unchecked ideas. It’s also a film interested in the foundational myths that animate our culture and what audiences themselves bring with them to the theater.

There have been multiple attempts to adapt video games into a narrative screen drama, most of which have been considered creative and box office failures. Among them are the 1994 Street Fighter featuring Jean Claude van Damme; the Resident Evil series based on the Japanese horror game; Lara Croft has had two big screen incarnations in the early aughts; and 2016’s Warcraft.

More recent attempts to convert legacy games into screened entertainment have had more success — perhaps because they’ve been serialized for streaming services, or because they tend not to cleave too close to the original game’s territory.