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 1/2 Weeks.” Reijn, the Dutch 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 character. One day while walking into the office, Romy is taken by a scene on the street. A violent dog gets loose but a young man, with remarkable calmness, calls to the dog and settles it. She seems infatuated. The man turns out to be Samuel (Harris Dickinson), one of the interns just starting at Tensile. When they meet inside the building, his manner with her is disarmingly frank. Samuel arranges for a brief meeting with Romy, during which he tells her, point blank, “I think you like to be told what to do.” She doesn’t disagree. Some of the same dynamic seen on the sidewalk, of animalistic urges and submission to them, ensues between Samuel and Romy. A great deal of the pleasure in “Babygirl” comes in watching Kidman, who so indelibly depicted uncompromised female desire in Stanley Kubrick’s “Eyes Wide Shut,” again wade into the mysteries of sexual hunger. “Babygirl,” which Reijn also wrote, is sometimes a bit much. (In one scene, Samuel feeds Romy saucers of milk while George Michael’s “Father Figure” blares.) But its two lead actors are never anything but completely magnetic. Kidman deftly portrays Romy as a woman falling helplessly into an affair; she both knows what she’s doing and doesn’t. Dickinson exudes a disarming intensity; his chemistry with Kidman, despite their quickly forgotten age gap, is visceral. As their affair evolves, Samuel’s sense of control expands and he begins to threaten a call to HR. That he could destroy her doesn’t necessarily make Romy any less interested in seeing him, though there are some delicious post-#MeToo ironies in their clandestine CEO-intern relationship. Also in the mix is Romy’s executive assistant, Esme (Sophie Wilde, also very good), who’s eager for her own promotion. Where “Babygirl” heads from here, I won’t say. But the movie is less interested in workplace politics than it is in acknowledging authentic desires, even if they’re a little ludicrous. There’s genuine tenderness in their meetings, no matter the games that are played. Late in the film, Samuel describes it as “two children playing.” As a kind of erotic parable of control, “Babygirl” is also, either fittingly or ironically, shot in the very New York headquarters of its distributor, A24. For a studio that’s sometimes been accused of having a “house style,” here’s a movie that goes one step further by literally moving in. What about that automation stuff earlier? Well, our collective submission to digital overloads might have been a compelling jumping-off point for the film, but along the way, not every thread gets unraveled in the easily distracted “Babygirl.” Saucers of milk will do that. “Babygirl,” an A24 release, is rated R by the Motion Picture Association for “strong sexual content, nudity and language.” Running time: 114 minutes. Three stars out of four.ATA Creativity Global ( NASDAQ:AACG – Get Free Report ) saw a large decline in short interest during the month of December. As of December 15th, there was short interest totalling 154,200 shares, a decline of 16.3% from the November 30th total of 184,200 shares. Based on an average daily volume of 45,300 shares, the short-interest ratio is presently 3.4 days. Analysts Set New Price Targets Separately, StockNews.com began coverage on ATA Creativity Global in a research report on Saturday. They issued a “sell” rating on the stock. Get Our Latest Stock Report on AACG ATA Creativity Global Trading Down 2.2 % ATA Creativity Global Company Profile ( Get Free Report ) ATA Creativity Global, together with its subsidiaries, provides educational services to individual students through its training center network in China and internationally. Its educational services include portfolio training, research-based learning, overseas study counselling, in-school art classes through cooperation with high schools and training organizations, foreign language training services, junior art education, and other related educational services to its students. Featured Stories Receive News & Ratings for ATA Creativity Global Daily - Enter your email address below to receive a concise daily summary of the latest news and analysts' ratings for ATA Creativity Global and related companies with MarketBeat.com's FREE daily email newsletter .
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ATLANTIC CITY, N.J. (AP) — New Jersey gambling regulators have handed out $40,000 in fines to two sportsbooks and a tech company for violations that included taking bets on unauthorized events, and on games that had already ended. In information made public Monday, the New Jersey Division of Gaming Enforcement fined DraftKings $20,000. It also levied $10,000 fines on Rush Street Interactive NJ and the sports betting technology company Kambi. Javascript is required for you to be able to read premium content. Please enable it in your browser settings. Get our free email newsletters — latest headlines and e-edition notifications.Maupay also had a dig at Everton when he departed on loan to Marseille in the summer and his latest taunt has further angered the Premier League club’s supporters. The 28-year-old said on X after Sean Dyche’s side had lost 2-0 to Nottingham Forest at Goodison Park on Sunday: “Whenever I’m having a bad day I just check the Everton score and smile.” Whenever I’m having a bad day I just check the Everton score and smile 🙂 — Neal Maupay (@nealmaupay_) December 29, 2024 Former boxer Tony Bellew was among the Toffees’ supporters who responded to Maupay, with the ex-world cruiserweight champion replying on X with: “P****!” Maupay endured a miserable spell at Everton, scoring just one league goal in 29 appearances after being signed by the Merseysiders for an undisclosed fee in 2022. He departed on a season-long loan to his former club Brentford for the 2023-24 season and left Goodison for a second time in August when Marseille signed him on loan with an obligation to make the deal permanent. After leaving Everton in the summer, Maupay outraged their fans by posting on social media a scene from the film Shawshank Redemption, famous for depicting the main character’s long fight for freedom.