All 10 Best Nicholas Galitzine Movies Ranked (Best to Worst)

Emma Seligman's chaotic feminist farce skewers adolescent hierarchy with blood-spattered irreverence, delivering a high-school comedy that operates on sheer, unbridled lunacy. Amid football players roaming hallways in uniform pads and an ultra-violent self-defense club, the film functions as a fearless subversion of teenage genre tropes. Galitzine delivers the standout performance of his career as Jeff, the dim-witted, narcissistic quarterback whose vacant stares and theatrical fragility generate endless laughs. Rather than playing the archetypal jock straight, he embraces pure slapstick and heightened buffoonery. It is an inspired piece of character acting that single-handedly detonated his tidy romantic-lead persona, proving his razor-sharp timing and complete willingness to look utterly ridiculous on screen.

Set against the unforgiving social landscape of an elite Irish boarding school, John Butler's poignant drama examines the crushing pressures of conformity through boarding house culture and violent rugby traditions. The narrative develops with poetic economy, exploring how institutional homophobia and toxic camaraderie suffocate individual expression until literature and music spark mutual understanding. Galitzine anchors this dynamic with heartbreaking restraint as Conor Masters, a closeted athletic prodigy torn between survivalist athletic status and fragile selfhood. His performance avoids melodrama entirely, relying instead on heavy silences, downcast glances, and sudden flashes of defensive anger. It stands as his most tender, emotionally layered dramatic showcase, quietly revealing the soulful interiority that later defined his rise.

Matthew López's adaptation of the bestselling queer romance turns high-stakes geopolitical diplomacy into an electric battle of wits, tracking a classified affair between an American first son and an English prince. The film balances confectionary palace glamour with genuine emotional vulnerability, managing brisk romantic comedy banter alongside the terrifying isolation of public exposure. Galitzine embodies Prince Henry with regal posture that slowly fractures to expose profound personal grief. He navigates the stiff royal protocols with dry, aristocratic wit before softening into aching romantic earnestness. The role crystallised his status as an international marquee idol, showing he could carry an escapist, crowd-pleasing romance with genuine heart, sharp comedic timing, and emotional gravity.

Directed by Michael Showalter, this glossy romantic drama treats its cross-generational premise with remarkable dignity, focusing on public scrutiny and the emotional cost of hyper-celebrity. When an art gallery owner crosses paths with the frontman of a stadium-filling boy band, the story avoids cheap melodrama to explore mutual professional weariness and unexpected emotional rescue. Galitzine brings disarming soulfulness to Hayes Campbell, completely side-stepping empty pop-star posturing. He handles the original music numbers with authentic stage rhythm, yet shines brightest during quieter domestic scenes opposite Anne Hathaway. His gentle, empathetic restraint grounds a potentially glossy narrative, demonstrating his maturity in handling delicate emotional dynamics alongside formidable acting heavyweights.

Elizabeth Allen Rosenbaum's marriage-of-convenience drama captures the bruising economic realities of modern young adulthood, setting its central union against soaring medical bills and military deployment. Though unapologetically earnest, the film thrives on the jagged friction between opposing political and cultural sensibilities forced into close quarters under duress. Galitzine steps into the boots of Luke Morrow, an indebted young Marine grappling with past addiction, bringing rigid posture and simmering defensiveness that gradually softens. His physical commitment and mournful gaze provide a steady counterweight to the story's heightened twists. Even when the script leans heavily on traditional melodrama, his understated conviction turned this low-key release into a massive streaming sensation.

Bridging the worlds of classical Juilliard violin pedagogy and underground hip-hop street choreography, Michael Damian's dynamic indie drama embraces the infectious joy of kinetic performance art. While the plot follows a familiar competition-movie template, the electrifying musical set pieces and explosive dance battles give the project irresistible forward motion. Galitzine stars as Johnnie Blackwell, a rebellious subway busker fighting for legal status and creative recognition. While carrying the physical demands of playing the instrument on screen, he injects the early-career role with raw streetwise grit and charismatic swagger. It remains a crucial foundational snapshot of his effortless presence, musical literacy, and instinctive charm before major Hollywood studios came calling.

Zoe Lister-Jones re-imagines the nineties cult horror classic through a distinctly modern feminist lens, shifting its themes toward teenage sisterhood, intersectionality, and the burdens of adolescent emotional isolation. The visual aesthetic is stylish and contemporary, yet the narrative occasionally stumbles while balancing intimate coming-of-age hurdles with rushed supernatural mythology. Galitzine takes on the pivotal role of Timmy, a high-school bully who undergoes a spellbound emotional metamorphosis before unravelling with tragic, sudden intensity. He handles a jarring mid-film personality shift with remarkable sensitivity, showing unexpected nuance within a limited genre canvas. Even when the plotting loses its grip on horror mechanics, his screen time delivers surprising dramatic resonance.

Blending bucolic English countryside charm with an eccentric murder-mystery framework, this whimsical adaptation explores the bonds between a lonely caretaker and his strangely observant flock. The staging leans heavily into pastoral warmth and deadpan narrative flourishes, prioritizing eccentric situational levity over tense whodunit revelations. Galitzine assumes a supporting role that leans gently into his natural British affability and low-key comedic rhythm. While the movie trades primarily in cozy, offbeat escapism that never quite ascends to top-tier status within his canon, his grounded participation helps steady the script's stranger narrative departures. It proves his continued willingness to play inside peculiar character ensembles between higher-profile tentpoles.

Attempting to breathe contemporary life into an iconic fantasy property, this big-budget franchise reimagining journeys through sprawling alien vistas and high-stakes cosmic mythology. The narrative struggles with the typical machinery of modern IP blockbusters, laboring to balance retro nostalgia with the gritty, grounded heroics expected of contemporary epics. In stepping into the boots of Prince Adam and his mighty alter ego, Galitzine commits entirely to the demanding physical transformations and muscular sword-and-sorcery theatrics. He brings earnest nobility and emotional grounding to the lore, even when swallowed by sprawling computer-generated backdrops. It marks an ambitious leap into franchise spectacle, testing his screen presence on a massive scale.

Kay Cannon's jukebox musical attempts to modernize the timeless fairy tale through loud girl-boss revisionism and rapid-fire contemporary pop covers, yielding an erratic, candy-colored novelty. While the musical numbers occasionally achieve campy fun, the film suffers from tonal whiplash, overcooked pacing, and disjointed dialogue that struggles to modernize its classic folklore. Galitzine portrays Prince Robert, tasking himself with singing Queen anthems while portraying an heir who simply wants romantic agency. His natural vocal ability and committed earnestness prevent the character from sliding into complete caricature, but the frenetic direction leaves him with very little narrative runway. It remains the most creatively hollow entry in an otherwise daring filmography.