Corey Deckler

Corey Deckler’s name keeps popping up in the indie film scene—maybe you’ve seen his work, maybe you haven’t, but the guy’s been making some waves. Look at “It Comes at Night” (2017), for instance. That movie isn’t your typical jump-scare horror flick. It’s got this slow-burning dread that just sits in your gut, all claustrophobia and paranoia, like you’re waiting for something awful to happen, and then—bam, it does, but not in the way you expect. Deckler’s got a knack for picking projects that mess with your head, not just your nerves. Then there’s “Civil War” (2024). Not your average action-packed war movie, let’s put it that way. It digs into messy politics, blurred lines, and all the chaos that comes when everything falls apart. You want explosions? Sure, there’s some of that, but the real punch comes from the characters—their choices, their regrets, the whole moral gray area. It feels way too close to home sometimes, like someone reached into today’s headlines and put it on screen. Don’t sleep on “Babygirl” (2024), either. It’s a smaller film but packs a punch. Deckler slides into roles that aren’t flashy but end up sticking with you, you know? There’s heart in it, and a kind of gritty realism that a lot of movies miss. Basically, if you’re into films that haunt you after the credits roll, Corey Deckler is a name to remember. No gimmicks, just raw, honest performances that get under your skin.