If there’s one reason to see Babygirl it’s for the terrific performance of Nicole Kidman other than that Babygirl is the type of erotic thriller that was abundant in the 90s but have now pretty much died out.

Kidman plays Romy Mathis, the CEO of a tech company based in New York City, who is married to theatre director Jacob Mathis (an underused Antonio Banderas). Whilst having what appears to be everything she wants the one thing that she can’t get from her husband, an orgasm (honest).

When a new intern (Harris Dickenson) joins the company Romy sees the chance to achieve that allusive orgasm and begins a sexual relationship with said intern.

Babygirl tries hard to be relevant for modern audiences, should people, especially those in power, be held accountable for using their position to lever something from others, even if it’s consensual? But by trying so hard it feels like a tick the box exercise rather than anything original.

At the end of the day what Babygirl boils down to in terms plot is will they or won’t they get caught? Which, for a film that runs for nearly two hours, isn’t really much to base a whole plot line on.