Nick Levine

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NME
For 62 reviews, this critic has graded:
  • 70% higher than the average critic
  • 3% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Nick Levine's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Hard Truths
Lowest review score: 20 The Next 365 Days
Score distribution:
  1. Positive: 32 out of 62
  2. Mixed: 29 out of 62
  3. Negative: 1 out of 62
62 movie reviews
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    • 62 Metascore
    • 80 Nick Levine
    The Devil Wears Prada 2
    A perfunctory romantic subplot linking Andy to a bland property developer (Patrick Brammall) should have been edited out and the ending is perhaps a little too sentimental. But this is still a smart and satisfying sequel. The Devil Wears Prada 2 feels like a sleek update on a classic, not a cheap knock-off that falls apart in the wash.
    • 53 Metascore
    • 60 Nick Levine
    The Moment
    The Moment is too protracted and tonally uneven to work as a great mockumentary, but it has plenty of meme-worthy moments that TikTok will lap up. If that sounds like faint praise, well, just remember it was enough to make Emerald Fennell’s Saltburn a sensation back in 2023.
    • 84 Metascore
    • 80 Nick Levine
    Hamnet
    There’s no denying this is a powerful portrait of grief driven by a shattering performance from Buckley.
    • 58 Metascore
    • 60 Nick Levine
    Wicked: For Good
    Wicked: For Good doesn’t defy gravity like its predecessor but fans will want to hold space for a sequel with a very poignant payoff.
    • 43 Metascore
    • 40 Nick Levine
    A Big Bold Beautiful Journey
    Despite stellar efforts from Farrell and Robbie, it all adds up to something not quite charming, not quite moving and not quite compelling. This film is less a big bold beautiful journey; more a mildly diverting pitstop.
    • 65 Metascore
    • 80 Nick Levine
    Eddington
    Is there too much going on? Possibly, but Eddington is never dull – Aster commits fully to his grisly vision of a ruptured America where a sticky narrative is more important than the truth or any kind of moral high ground.
    • 60 Metascore
    • 60 Nick Levine
    Freakier Friday
    It’s heaps of fun watching Curtis chuck herself around the set in the name of slapstick as Lohan delivers the sort of poised performance she built her career on 20 years ago. Freakier Friday isn’t a flawless sequel but it does supply a satisfying nostalgia rush.
    • 68 Metascore
    • 80 Nick Levine
    F1: The Movie
    Buckle up and enjoy the ride, safe in the knowledge that the tyre talk never gets too overwhelming.
    • tbd Metascore
    • 60 Nick Levine
    Miley Cyrus: Something Beautiful
    Watching the project as a whole is a bit like arriving at pre-drinks to find that someone has queued up 11 slightly same-y Miley Cyrus tracks in a row. Hardcore fans will be entranced; more casual admirers might want to wait until they all end up on YouTube.
    • 54 Metascore
    • 40 Nick Levine
    Echo Valley
    Director Michael Pearce, who previously made 2021’s decent crime thriller Encounter starring Riz Ahmed, keeps the pace brisk but never really punches up the source material.
    • 70 Metascore
    • 80 Nick Levine
    The Phoenician Scheme
    It all adds up to a superior Wes Anderson confection: the surface gleams with a retro sheen, but there’s enough going on underneath to leave a lasting impression.
    • 54 Metascore
    • 60 Nick Levine
    Another Simple Favor
    Another Simple Favour has built up enough goodwill to keep you invested, thanks largely to game performances from Lively and co-star Anna Kendrick.
    • 68 Metascore
    • 80 Nick Levine
    Thunderbolts*
    By the end, even the clunky-looking asterisk in the film’s title makes sense. Thunderbolts* doesn’t so much reinvent the wheel as remember what put the wheels on this bandwagon in the first place: an epic blend of thrills, spills and psychological ills. It’s the most fun the MCU’s been in years.
    • 39 Metascore
    • 40 Nick Levine
    Marching Powder
    Marching Powder isn’t just about anti-woke banter: it also has plenty of affection for its characters, even if it doesn’t fully flesh them out. It’s punchy but never lands a killer emotional blow.
    • 72 Metascore
    • 80 Nick Levine
    Mickey 17
    There’s an infectious warmth to proceedings that makes you stick with Mickey 17 (and 18) through thick and thin. This kooky curio is well worth seeking out.
    • 66 Metascore
    • 80 Nick Levine
    The Last Showgirl
    It’s a rich character study that doesn’t sugarcoat the ageism Shelly faces, but also grants her a defiant sense of agency. Whatever you think of her choices, she’s lived life on her own terms.
    • 88 Metascore
    • 100 Nick Levine
    Hard Truths
    Like many of Leigh’s best films, it prioritises authenticity and recognisable glimpses of emotion over a splashy narrative arc. That may make it frustrating for some viewers, but there’s no doubt that Leigh and his cast have created a sad, captivating, fascinating slice of everyday life.
    • 53 Metascore
    • 40 Nick Levine
    Midas Man
    Midas Man is so busy hitting the familiar beats of the Fab Four’s incredible rise that it never really burrows beneath Epstein’s skin.
    • 79 Metascore
    • 80 Nick Levine
    Babygirl
    This isn’t a perfect film, but it is a funny, fascinating one with terrific performances from Kidman – surely the bravest A-lister around – and Dickinson as an inscrutable wildcard. You’ll submit to Babygirl’s machinations willingly and thrillingly.
    • 61 Metascore
    • 60 Nick Levine
    Elton John: Never Too Late
    If this is a bookend to his incredible performing career, at least it’s a respectful and tender one.
    • 73 Metascore
    • 80 Nick Levine
    Wicked
    By the end, you won’t quite be levitating off your seat but you’ll definitely be enchanted enough to stream the soundtrack on the way home. Funny, colourful and full of empathy for outsiders, this film really is the Shiz.
    • 56 Metascore
    • 60 Nick Levine
    Nightbitch
    Nightbitch makes plenty of very valid points about traditional gender roles and the oppressive nature of new parenthood. But it never fully sinks its teeth into a meaty premise; it’s briefly ferocious where it could have been completely feral.
    • 78 Metascore
    • 100 Nick Levine
    The Substance
    It’s horrifying in the moment and gnawingly haunting when you process it fully: a sickening satire of society’s obsession with youth and beauty.
    • 62 Metascore
    • 80 Nick Levine
    Beetlejuice Beetlejuice
    It’s silly, giddy and a little bit disgusting – just what we want from Beetlejuice.
    • 41 Metascore
    • 60 Nick Levine
    Jackpot!
    Awkwafina’s deadpan drollery dovetails neatly with Cena’s golden retriever energy and the climactic set-piece is genuinely exciting.
    • 64 Metascore
    • 80 Nick Levine
    Kinds of Kindness
    There’s something undeniably impressive about the whole enterprise, in which Lanthimos has found the perfect co-conspirators: Plemons’ ambiguous quality suits his opaque stories, while Stone’s charisma warms the edges of his chilly filmmaking. The result is a singular, freaky challenge that’s definitely worth accepting.
    • 66 Metascore
    • 60 Nick Levine
    Sasquatch Sunset
    While there are glimmers of drama, there are also extended sections where this deliberately bewildering film gets a bit boring. Despite this, Sasquatch Sunset is worth seeking out if you have a taste for the absurd.
    • 57 Metascore
    • 60 Nick Levine
    Sting
    Sting is derivative but fitfully gripping. Crucially, it’s also good fun: with a main protagonist named Charlotte (lolz), there’s definitely a knowingness to proceedings.
    • 66 Metascore
    • 60 Nick Levine
    Kingdom of the Planet of the Apes
    The climactic setpiece isn’t quite an action spectacular, but it does feel tense and narratively satisfying.
    • 43 Metascore
    • 80 Nick Levine
    Back to Black
    This film was always going to face accusations of being exploitative – given the way Winehouse was scrutinised when she was alive – but the naysayers needn’t have worried. Taylor-Johnson’s film (particularly the ending) is impressively deft and delicate.
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