The demands of achieving both one-day shipping and a satisfying orgasm collide in Halina Reijn's "Babygirl," a kinky and darkly comic erotic thriller about sex in the Amazon era.

Nicole Kidman stars as Romy Mathis, the chief executive of Tensile, a robotics business that pioneered automotive warehouses. In the movie's opening credits, a maze of conveyor belts and bots shuttle boxes this way and that without a human in sight.

Romy, too, is a little robotic. She intensely presides over the company. Her eyes are glued to her phone. She gets Botox injections, practices corporate-speak presentations ("Look up, smile and never show your weakness") and maintains a floor-through New York apartment, along with a mansion in the suburbs that she shares with her theater-director husband ( Antonio Banderas ) and two teenage daughters (Esther McGregor and Vaughan Reilly).

But the veneer of control is only that in "Babygirl," a sometimes campy, frequently entertaining modern update to the erotically charged movies of the 1990s, like "Basic Instinct" and "9 ½ Weeks." Reijn, the Danish director of "Bodies Bodies Bodies" has critically made her film from a more female point of view, resulting in ever-shifting gender and power dynamics that make "Babygirl" seldom predictable — even if the film is never quite as daring as it seems to thinks it is.

The opening moments of "Babygirl," which A24 releases Wednesday, are of Kidman in close-up and apparent climax. But moments after she and her husband finish and say "I love you," she retreats down the hall to writhe on the floor while watching cheap, transgressive internet pornography. The breathy soundtrack, by the composer Cristobal Tapia de Veer, heaves and puffs along with the film's main... Read More