Critical response
On the review aggregator website Rotten Tomatoes, 76% of 257 critics' reviews are positive, with an average rating of 6.9/10. The website's consensus reads: "Nicole Kidman and Harris Dickinson memorably smolder together in Babygirl, with writer-director Halina Reijn's clinical gaze keeping this sexually frank thriller more provocative than prurient." Metacritic, which uses a weighted average, assigned the film a score of 79 out of 100, based on 55 critics, indicating "generally favorable" reviews. Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale, while those surveyed by PostTrak gave it a 67% overall positive score, with 38% saying they would "definitely recommend" it.
Michelle Goldberg of The New York Times observed that "On the cusp of our terrible new era, it felt, for all its darkness and perversity, like an artifact of a more optimistic moment, when equality seemed close enough at hand that the orgasm gap between men and women – something the movie's director, Halina Reijn, often talks about in interviews – could be a subject of serious concern." Damon Wise of Deadline Hollywood praised the performance of Kidman as "[she] really goes the distance, imbuing Romy with a psychological vulnerability that is missing from the film it most obviously sounds like (Fifty Shades of Grey) and presenting a unique reversal of the film it most obviously looks like (Secretary)." He also mentioned Dickinson's performance as "an inspired piece of casting, manifesting like a monster from the id with his dorky, knife-and-fork haircut and clothes that he appears to have put on with a shovel." Nicholas Barber of the BBC lauded Reijn's gritty, indie-style direction in Babygirl, highlighting how she avoids the usual Hollywood neo-noir gloss, choosing instead to expose the raw, unpolished truth behind moments like the intern's arrival at the family's retreat or the co-worker's discovery of the affair. Barber also praised Kidman for delivering a bold and captivating performance, describing it as one of her most daring and impactful in years.
David Rooney of The Hollywood Reporter called out the film as "sexy, dark and unpredictable" and praised the cast's performance. He mentioned Dickinson was "a magnetic screen presence", Kidman was "in spectacular form, swinging from outrage to fear to ravenously lustful consent", Wilde brought "sly notes of humor". Richard Lawson of Vanity Fair praised the overall film as "Reijn creates the sense that we are watching test subjects through a two-way mirror. This doesn't necessarily make the proceedings any less interesting. But one does maybe crave a bit more heat from a movie that is so willing to tackle intimate matters."
In a more critical review, Xan Brooks of The Guardian stated, "for all its excited carnality and seesawing power struggles, the film's thrills feel machine-tooled and vacuum-packed. Babygirl rolls off the track looking almost as neat and anonymous as a box from Tensile's [the fictional tech company] upstate delivery warehouse." However, he commended Kidman's "bright, bold performance" as it "carries a top-note of distress, as though she is not entirely convinced by everything she's signed up for." In contrast, Owen Gleiberman of Variety praised the overall film as "a shrewdly honest and entertaining movie about a flagrantly 'wrong' sadomasochistic affair" and he termed Kidman's performance "fearless". He later concluded that Kidman had given the best performance by a female actor in 2024.
Robbie Collin of The Telegraph praised the film, noting that it "is sharp enough – and hot enough." He highlighted Nicole Kidman's performance as "ferociously good, convincing utterly as this formerly level-headed careerist whose deeply buried, long-denied appetites are simultaneously proving her making and downfall." Alison Willmore of Vulture described the film as "a self-love story," emphasizing that part of its message is about the importance of allowing oneself to be vulnerable and to "let yourself be small for a while." Glenn Kenny of RogerEbert.com praised Kidman's performance but the film itself did not convince him: "Kidman has garnered kudos for an uninhibited and daring performance, but when has she ever shied away from uninhibited and daring performances? I love to see them always, but I love to see them even more in good movies." Kevin Maher of The Times mentioned that "The ending, like the best BDSM experiences (they say), is slightly contrived but very satisfying."
Radhika Seth of Vogue acknowledged that the film is not for everyone, dividing critics and even premiere attendees. However, she praised Antonio Banderas, Nicole Kidman, Halina Reijn, and Cristobal Tapia de Veer for their standout contributions to the film. Ben Croll of TheWrap said that despite hints at deeper themes and narratives, the film stands out for its surprising absence of cynicism. Martin Tsai of Collider noted that while the film does elicit some laughs, whether intentional or not, it ultimately feels more demeaning for Nicole Kidman than Dogville. He pointed out that Catherine Breillat had already addressed similar themes more skillfully in Last Summer, and criticized Reijn for lacking the nuance needed to elevate the film into something more meaningful.
Stephanie Zacharek of Time called out that this was one of Kidman's finest performances in a long career of more than 40 years, while Carla Meyer of Los Angeles Times considered Kidman's performance Oscar worthy. Concurred with that, Peter Travers of ABC News mentioned that "Kidman's daring is now the stuff of legend". Nick Schager of The Daily Beast mentioned that the film featured a standout performance from Kidman as a woman on a daring quest for self-discovery and fulfillment, and delivered a bold and entertaining cinematic jolt. Richard Roeper of Chicago Sun-Times praised Banderas's performance as he served as a steady presence, with a standout moment later in the story showcasing his formidable acting prowess.
Filmmaker John Waters named it as one of his favorite films of 2024, giving particular praise to Kidman's performance.
