I don’t like submarines. The idea of being trapped, several hundred feet underwater, in a narrow, creaking death trap? No thanks. I already knew that going into a screening of Submerged, the first scripted short film shot in Apple Immersive Video for the Vision Pro. Now that I’ve seen it, I’m triply sure.
Technology
5 underrated indie horror movies you need to stream in October 2024
Sure, A Nightmare on Elm Street, Scream, The Exorcist, and The Conjuring are all legendary horror films that earned hundreds of millions at the box office, spawned franchises, and have been immortalized by pop culture. But there are tons of fantastic horror movies out there that didn’t have big budgets and major studios behind them. Some were made by indie filmmakers who simply knew they had a good story to tell and wanted to tell it.
This October, in addition to rewatching all the classics, be sure to check out some great indie horror movies that are guaranteed to scare and excite. From the worst STI you’ve ever had to Bigfoot (yes, Bigfoot) running loose in the woods, here are five indie horror movies you need to check out this October.
We also have guides to the best movies on Netflix, the best movies on Hulu, the best movies on Amazon Prime Video, the best movies on Max, and the best movies on Disney+.
Exists (2014)
Eduardo Sanchez, the director of The Blair Witch Project, returned in 2014 with another found-footage horror movie, Exists. The film centers around a group of friends vacationing at a remote cabin in the woods. But they soon find themselves being stalked by Bigfoot. The premise sounds a bit stupid, but somehow Sanchez managed to create a genuinely scary and effective Sasquatch movie.
When you think about it, Bigfoot is the perfect slasher villain. Big, strong, and elusive like a wild animal, but able to think and plot like a human. We have tons of ghost movies and the MonsterVerse has made King Kong cool again, so why not try a Bigfoot movie?
Hatchet (2006)
The goal of Hatchet was to revive the classic ’70s and ’80s slasher flick. The movie’s tagline leaned into this by proclaiming the film to be a return to “Old school American horror.” In the film, Victor Crowley was a deformed young boy who was bullied by everyone. One night, kids from his school set his rural cabin on fire with Victor trapped inside. Desperate to save his son, Victor’s father tried to smash through the door with a hatchet… but ended up sending it straight through Victor’s skull.
The origin story was heavily inspired by Friday the 13th, and now in the present day, a full-grown, monstrous, never-dying Victor has risen from the dead, hellbent on killing anyone who comes near his cabin on the bayou (again, very much inspired by Jason Voorhees). Thanks to some great humor, tons of throwbacks to classic slasher films, and lots of genuinely scary scenes, Hatchet is both an homage to the slasher genre while also being a solid entry.
Terrifier 2 (2022)
Art the Clown is horror’s newest it boy. Originally he appeared in the 2013 anthology film All Hallow’s Eve before getting his own film Terrifier in 2016. But it was 2022’s Terrifier 2 that really introduced Art to a wider audience – and luckily for viewers, you don’t really need to watch the previous movies to enjoy it, though it is fun to see his origins.
In Terrifer 2, Art encounters his greatest enemy yet, Final Girl Sienna Shaw (Lauren LaVera). Like all proper slasher flicks, Art kills everyone around him, building the suspense before his final battle. But what really separates the Terrifier movies from other more mainstream horror films is the totally gory, gruesome, and wild kill scenes. Somehow, the film’s kills are so bombastic that it adds a perverse and sadistic dose of humor.
Behind the Mask: The Rise of Leslie Vernon (2006)
Behind the Mask is a super unique and fun slasher movie that centers around a reporter and her crew filming segments about notorious serial killer Leslie Vernon. But they’re not just talking about the infamous killer … they’re actually following him around, getting a first-hand account of his life. Immediately, the premise disarms you. You can’t tell if the film is a comedy or a proper horror movie.
But the third act changes everything and proves that Leslie had a plan of his own the entire time. No spoilers here, just know you’re in for a great surprise and one hell of a good time. It also stars two horror legends, Robert Englund (aka Freddy Krueger) and Zelda Rubinstein from Poltergeist.
Watch Behind the Mask: The Rise of Leslie Vernon on Shudder and AMC+ .
Contracted (2013)
Before It Follows was released, Contracted was the original sexually transmitted horror movie. In the film, a young woman named Samantha is raped at a party, and it turns out the man who raped her is a necrophiliac who recently had sex with a diseased corpse.
Soon, Samantha’s body starts to fall apart and her actions become erratic and violent. Eventually, she deteriorates away into a bloodthirsty zombie. Just like It Follows, the combination of sex and horror makes Contracted terrifying. But its added dose of body horror makes it a truly squirm-worthy movie that’s disgusting, vile, and will absolutely haunt your dreams.
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Written and directed by Oscar winner Edward Berger, Submerged takes place inside a WWII submarine that’s under attack. It follows the crew as they try to escape a sinking submarine. I, however, was seated comfortably in 2024 on a couch at Apple’s demo space in Manhattan. There weren’t any other theatergoers because I was going to strap the theater to my face. It was a little weird. At least, until the film got going. Then, I, too, was inside a WWII submarine.
Watching an immersive film inside the Vision Pro is an odd thing. On the one hand, it’s hard to forget you’re in a headset. But, unlike a regular film, I have a ghostly sort of agency inside the narrative. The action can be happening with the main characters, but I’m not obligated to watch them. You can instead focus on the extras in the background. I can — and did — occasionally choose to turn my head to stare at the rivets in the submarine’s metal walls or beads of condensation in a torpedo tube (also, rudely, a roach skittering across the floor). Sometimes, I’d turn around to see if this Submerged world had 360 degrees like the real one. Spoiler: it doesn’t. This fictional world spans 180 degrees, and once you reach the border, it fades to black.
The experience feels like a cross between playing a video game and viewing Sleep No More, an immersive version of Macbeth where the audience traipses through a creepy hotel as the play unfolds around them. Scenes move slower, as if you’re being invited to gawp at your surroundings. At the same time, you’re not fully free to explore. There’s still a story that Berger is trying to tell — you’re just along for the ride.
All of that is a natural part of adapting traditional filmmaking to a more immersive 180-degree field of view. “That frame is very large and you need to fill that frame with things that happen, things that could be of interest to the audience,” Berger says. “Every extra counts in this, every piece of equipment, every piece of bursting pipe or element in the frame counts. You can’t really cheat.”
That wide field of view comes with its own obstacles. Mics and lighting have to be built into the scenery. Berger says he had to storyboard everything, create a short animated film based on that, and then watch it in the Vision Pro to get a sense for how the camera would move. Berger also wore the headset when filming started to figure out how shots would look.
The result is impressive. As water rushed into this fictional submarine, I could taste the faint memory of salt water on my tongue. When characters walked down narrow submarine corridors, I felt claustrophobic. During a scene where sailors shoved a torpedo into its launch tube, I instinctively stretched my hands out. For a split second, I thought they were loading it straight into my chest.
“My main agenda is to make you feel what the main character is feeling, to sort of have you go through what they’re doing,” Berger says. On that front, Submerged is incredibly successful. It’s when you remember you’re in a headset that the rest of the world comes rushing back in.
Watching the film, you become very aware there’s no one else experiencing this with you. There’s no one else gasping at harrowing moments. There’s no one to lock eyes with, as if to say “Whoa, did you see that, too?” If you were to SharePlay this, you’d just see the ghostly Persona of a friend who isn’t actually there. And then you’d miss out on the whole immersive aspect. When you think about it that way, Submerged is something you have to experience alone.
Watching the film, you become very aware there’s no one else experiencing this with you
Owning (or borrowing) a Vision Pro is also the only way to see Submerged. That’s inherently lonely. The only people I’ve really been able to chat about this experience with were Apple employees and Berger himself. Now that the film is available, I’ll have to wait for the two people I know in real life with a Vision Pro to carve out time in their schedule to see it. When I try to explain it to my spouse, they are unmoved.
Ostensibly, Apple wants these immersive films to serve as a selling point for the Vision Pro. Come, spend $3,500, and see for yourself what the magic is all about. There’s a logic to it. Submerged is truly a technologically impressive proof-of-concept for high-quality immersive content. It’s just also a hard experience to share. I can’t say with a straight face that this is the killer reason anyone should buy one of these things, especially since this was only a roughly 17-minute film. That’s long enough for things to feel snappy and fresh. I’m not sure how well the immersive aspect would hold up over a two-hour feature.
“Not every movie is going to be made on these headsets. It’s not necessary. It would be a waste of resources and waste of time,” Berger acknowledges. Instead, he sees the Vision Pro as another tool in the belt. “Not every movie is supposed to be for every medium. But if I have the right story, I think, ‘I’m excited about telling this and about pushing the medium forward.’”
That’s sort of the quagmire all mixed reality tech is stuck in. It can be magical. When you try it, you can see why some people are inspired and excited. And then, when you inevitably take the headsets off, it’s hard to explain to anyone why the world inside the headset is better than the one outside it. “Pushing boundaries” isn’t all that convincing of a reason. Watching Submerged is like this, too. For all the artistry and technological prowess that went into making this film, I’ve never needed the Vision Pro to imagine how terrifying a sinking submarine could be. It’s just not necessary for immersing yourself in a good story.
Technology
Submerged is Vision Pro’s claustrophobic thrill ride that’s short on depth but long on immersion
Claustrophobia and barely contained panic were my two overriding emotions as I experienced Apple’s first-ever immersive narrative short film on its Vision Pro mixed reality headset.
The aptly titled Submerged, which arrives on Vision Pro headsets around the world today, tells the harrowing 17-minute tale of a World War II submarine tasked with tracking ships in enemy waters.
If you’re even remotely a World War II history buff or film fan, you’ve heard of or seen tales like this before but I doubt you’ve seen it in this fashion.
Written and directed by award-winning director Edward Berger, the film tells a tight tale of a submarine crew under siege. It’s remarkable not necessarily because the story is new or nuanced but because of how it employs immersive video techniques to put you in the middle of the action.
When I watched the film, I could look around the tight cabin – an expertly built set that, owing to the Vision Pro’s high-resolution displays and the close confines – used all metals to make the recreation remarkably realistic.
The story starts slowly to, perhaps, help introduce you to the main protagonist, crewman James Dyson (expertly played by Jordan Barton), his shipmates, and the mundanity of their existence some 400 ft below the surface of the sea.
One thing I noticed was how Berger switched back and forth between using the 360-degree view capabilities of a VR headset (all shot on Apple’s proprietary camera) like the Vision Pro, and pulling the focus in tightly to direct your gaze. The closeups of Barton were tight enough that I could make out the pores on his face.
I often find the experience of watching a movie in Vision Pro calming almost to the point of sleepiness. As the early minutes of the short film plugged along, I found my attention waning – that is, until the ship was struck by something and shook wildly. I was so startled that I almost jumped off the couch I was sitting on.
From that moment forward, the film seemed to press in on me and its characters. I enjoyed Berger’s varied propositioning of the camera. At one point a 20-ft torpedo was essentially loaded into my chest – at least from my point of view. At another, the main character was staring warily right into my eyes.
When one of the torpedo tubes burst open and flames and sparks formed overhead, all hell broke loose. Within seconds there were geysers of water shooting into my and the main character’s faces.
As the water poured in and rose around us – yes, I soon felt like a part of this – my unease grew. It was clear the water was just below my nose. I’m a little claustrophobic in real life so I was soon repeating a mantra of “no no no no” in my head. To achieve some of this effect, they shot the film in a giant custom-built tank and in open water where they slowly submerged some parts of the set.
There’s virtually no exposition so I never entirely understood how [spoiler alert] the enemy found them, attacked, and eventually destroyed their sub. Miraculously, all the crewmen survived. This being an Apple immersive film, perhaps I shouldn’t be surprised.
Apple is still mainly interested in delivering relatively brief immersive experiences. It’s queued up a new NBA All-Star weekend movie that, while just four minutes or so long, truly puts you in the middle of the three-day event. I don’t even follow basketball but found it entertaining (the basketball to my face was a nice touch).
Apple is also lining up more Adventure and Elevated episodes, including one for Maine. There are more concert experiences on the way, like one from The Weekend and another from R.A.E.
I’ve enjoyed most of my immersive experiences and, if you have a Vision Pro, it’s one of the coolest ways to use your mixed-reality headset. Are they and this entertaining and somewhat anxiety-inducing film reason enough to spend $3,500 for a Vision Pro? I’ll leave that up to you.
I naturally had a lot of questions about the creation of this immersive, short film, so I turned to the director Edward Berger, who also directed the Oscar-winning All Quiet on the Western Front, for a deeper look at how he created Submerged and the choices he made to bring it to Vision Pro. Our conversation has been edited and shortened for clarity.
A conversation with the director
I saw the behind-the-scenes video short, and what I noticed is that during the making of the film, you appeared to be wearing the Vision Pro headset. So I guess I was curious if that was designed so you would have a feed and know exactly what the scene was going to play out like for people who were wearing headsets themselves.
Berger: In our shooting experience, we designed the pipeline so that we were able to watch the take through the Vision Pro and experience life as the actors were doing it.
I started changing my habit a little bit during production because you learn your brain rewires very quickly to the Apple Vision Pro. It learns the tools, it learns the visuals, it learns the techniques, very quickly how it feels, what what you can use. And so maybe halfway through the shoot, I sort of alternated between just watching the actors on my monitor, [we had] two monitors. One was just the field division and one was the entire 180 degrees sort of whatever was in the frame everywhere.
So, I watched those just to – sometimes it felt a little bit more direct to me and I could imagine the effect that I would have in the Apple Vision Pro because I had learned it within the previous three weeks of using this tool.
Were there any technical surprises as you were preparing to do this or even as you were doing it?
Absolutely. I mean, not surprises so much because we tested it extensively, but certain things that we knew, we’re gonna have to push the limit here in terms of movement, camera movement. How much can you shake it? What kind of dolly moves, crane moves can you make? Can you do a three-axis move, or is it better just to move on one axis? Just do push-ins or trackbacks or things like that.
So just all these things you need to test to know how is it gonna feel when you put on the put on the glasses, but also, you know, very quickly it became clear to us, okay, well where are we gonna hide the equipment? You know, where are we gonna put the lights? Where are we gonna put the microphones? Very quickly we realize, okay, we’re gonna have to integrate everything into the set.
The set looked great, by the way. It looked looked realistic. Had you ever shot a VR film before?
No. First experience, first stereoscopic experience. I’d never even put on any VR glasses. I mean, except for in a museum, maybe for a few minutes, when there’s a long line behind a view, so it was a wonderful way of getting to the technology diving into it, exploring ways of telling a story in a different way.
Do you now own a Vision Pro?
Absolutely, and I use it a lot. It’s a great great way to watch movies.
How long was the entire shoot?
I think we shot for 10 days. Tested maybe for a week and then shot for 10 days.
It sounds like it took more planning maybe than a traditional movie because of things like having to hide equipment.
Yeah, it did take a lot of planning. It took quite a while – but you know, also we had a tight timeline. So in a way, it was like we had to work around the clock to make this film to be able to premiere it right now for you. I mean, we shot it in April and it has a long post-production process. Yeah, a lot of planning, but a lot of around-the-clock work as well.
Did you get to show it to Tim Cook?
I mean, I know he watched it. I wasn’t present in the room when he watched it.
With the amount of preparation and the way you had to manage things, was there any room for improvisation?
No. I’m not, in general, I’m not a big fan of improvisation. I like movies where I can see that the filmmaker has put a lot of thought into the design of it, into the making of it. To then react on the day, I don’t call improvisation where I said, okay, let’s make it better. We have this shot planned, but actually it would be much better from here with the actors doing this, let’s react to that. But I like when movies are well thought through and precise and so I’m not the right person to ask that question.
I’m sure there’s somebody else, an improvisational filmmaker who will put the Apple Vision Pro to great use.
I noticed in the shooting in the movie that sometimes I could look around and see a lot of stuff, and other times my view was directed, narrowed in a way focused. So I was just curious how you decided to make that choice where sometimes we were experiencing it fully and sometimes we were just like – the main character was really in our face and that was kind of what you saw. If you look to the edges, they were kind of darkened.
It is. I mean, it’s in a way like in a traditional movie, I would say it’s the use of a closeup. When you say, okay, I really want it to have an emotional impact for the viewer, have them be very close to our character to experience what they are experiencing. And so you direct the eyes, the gaze like that, but usually, I mean, this device, the great thing is that the audience can design their own experience.
It’s almost like theater in a way. You have very wide shots, not your field of vision necessarily, but to the left, right, up and down, there’s a lot beyond the frame that you can see, and hear, and to then use that entire frame, the entire 180 degrees to fill it with sound or other action like a bursting pipe or steam coming somewhere, was super interesting to us, and therefore you also need more time to explore these things. You can let the shots linger so that you, Lance, can look around, you know, that we can give you the time and space to do that.
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Getty ImagesThe US and the UK have announced what they say is their first joint agreement aimed at keeping children safer online.
It will see the setting up of a joint online safety working group to share evidence and expertise, and study the impact social media has on children.
UK Technology Secretary Peter Kyle said the agreement would turn the two countries’ “historic partnership” towards “delivering a safer online world for our next generation.”
But campaign group Smartphone Free Childhood said it was insufficient and parents “don’t have time to wait and see whether this UK-US agreement makes any difference when their children’s futures are at stake.”
However, others argue more evidence does need to be gathered in relation to online harms to guide any future policies.
“Policies and guidelines to support young people in navigating their digital world need to be based on robust evidence, but to date we haven’t had much success in establishing cause and effect when it comes to impacts on wellbeing,” said Prof Pete Etchells of Bath Spa University
Announcing the agreement, the UK government acknowledged there was “limited research and evidence on the causal impact that social media has on children and young people”.
It committed to consider ways access to more data held by big tech firms could be given to researchers.
‘Further and faster’
The agreement was announced in a joint statement between the two countries.
At its heart is the joint working group which will work on areas including “promoting better transparency from platforms” and “better understanding the impacts and risks of the digital world on young people, including new technologies like generative AI.”
They also said they expected tech platforms to go “further and faster” to protect children.
“As more children across the U.S. and around the globe have access to online platforms for online learning and social media, there is also increased risk to this exposure,” said U.S. Secretary of Commerce Gina Raimondo.
“That is why we are taking the necessary steps in the United States, and with our UK partners, to protect children’s privacy, safety, and mental health,” she added.
However, Smartphone Free Childhood said action was needed sooner, so it has launched a campaign calling on the UK government to ensure that children don’t have access to their mobile phones at school.
The campaign group argues that “further delay” from the government would make the UK looking “increasingly behind” other European countries who have strengthened restrictions.
Currently government guidance says that: “All schools should prohibit the use of mobile phones throughout the school day – not only during lessons but break and lunchtimes as well”.
However, the government so far says it has no plans to ban smartphone use for the under-16’s.
The UK’s Online Safety Act does place duties on online platforms to protect children’s safety and put in place measures to mitigate risks.
But this is not yet fully in force. Guidance for firms on how to comply with the new legislation is still being produced by the communications regulator Ofcom.
Let’s talk about server racks for a minute.
This is a review on StarTech.com 25U Open Frame Server Rack – 4 Post Adjustable Depth (23″ to 41″) Network Equipment Rack w/ Casters/ Levelers/ Cable Management (4POSTRACK25U)
The past few years have seen outstanding progress in medication for previously incurable conditions. Most pertinent for me is the approval of lecanemab for use in the UK and elsewhere to slow the progress of early-stage Alzheimer’s disease. It isn’t a cure, but it brings us closer to dementia becoming a chronic condition managed with drugs.
But while lecanemab has been hailed as a game changer, it isn’t yet readily available and, in the meantime, 55 million people are living with dementia globally. By 2050, that will grow to 139 million. It is one of the biggest medical and…
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