Timothee Chalamet delivers an amazing performance as young Bob Dylan in James Mangold’s “A Complete Unknown,” where the 19-year-old Dylan hitchhikes from Minnesota to New York City in 1961, soars to fame as a folk singer/songwriter, and chooses – four years later – to pivot from his acoustic folk roots to electrified rock ’n’ roll.

Dylan’s first stop is a hospital in New Jersey to meet his hero, bedridden Woody Guthrie (Scoot McNairy), suffering from Huntington’s disease, whose other visitor is veteran folksinger Pete Seeger (Edward Norton). After listening to Dylan sing and play his acoustic guitar, they acknowledge his talent and become his mentors.

Thanks to Seeger, Dylan turns out to be an overnight success, managed by Albert Grossman (Dan Fogler) and encouraged by musicologist Alan Lomax (Norbert Leo Butz), who loves his “Blowin’ in the Wind” and “The Times They Are A-Changin.”

Meanwhile, Dylan moves in with activist/artist Sylvie Russo (Elle Fanning) at 161 W. Fourth Street in Greenwich Village; she inspires him with ideas for songs. Their liaison lasts until she goes out of town and he hooks up with established folk artist Joan Baez (Monica Barbaro), personally and professionally.

(Sylvie stands in for Suze Rotolo; Dylan specifically asked Mangold – who adapted Elijah Wald’s 2015 best-seller “Dylan Goes Electric!” with Jay Cocks – not to use Suze’s real name.)

The climax of the film is a near-riot at the ‘65 Newport Folk Festival because self-absorbed Dylan, despite being the folk genre’s highly-advertised closing act, wanted to acknowledge his artistic evolution by playing new rock ‘n’ roll songs on his recently acquired electric guitar.

FYI: The original title for this film was “Going Electric.”

Displaying incredible mastery of Dylan’s raspy nasal twang – after working with vocal coach Eric Vetro – 28-year-old Chalamet’s impersonation is remarkable; as for his guitar mastery, he studied for five years with Larry Saltzman.

And he’s been endorsed by the 83-year-old Nobel Prize-winning legend who wrote on X: “Timmy’s a brilliant actor so I’m sure he’s going to be completely believable as me. Or a younger me. Or some other me.”

Nods also to Boyd Holbrook as supportive Johnny Cash and to production designer Francois Audouy’s meticulous authenticity.

 On the Granger Gauge of 1 to 10, “A Complete Unknown” is a scruffy, scrappy, if sanitized 7, playing in theaters.

I really don’t know how to review “Babygirl,” a senseless study of a woman who –- after 19 years of marriage – has never admitted to her husband that she cannot orgasm without kinky S&M role-playing, which is odd since he’s a theater director.

Reminiscent of erotic thrillers like “9 ½ Weeks,” “Fifty Shade of Gray” and “Basic Instinct,” it’s all about sex and power.  As controlling tech CEO Romy Mathis (Kidman) is walking to work in Manhattan one morning, she’s sexually aroused by the sight of a young man calming a ferocious dog, which is obviously a metaphor about the wild, untamed beast within us.

It turns out that he’s Samuel (British actor Harris Dickinson), an impudent intern starting work at Tensile, her warehouse robotics company. Soon they’ve embarked on a spiky, steamy affair, which is particularly risky for her impeccable personal and professional career. But raw, reckless danger is what Romy thrives on.

“I think you like to be told what to do,” 28-year-old Samuel brazenly observes at one of their first workplace meetings. Later, after months of hooking up in hotel rooms with his subservient cougar boss, he notes: “I could make one call and you lose everything.”

These fetish fantasy-fueled sexual encounters are explicit and graphic – a sadomasochistic challenge which is obviously what appealed to bold, adventurous 57-year-old Kidman who – despite previous raunchy roles in “Dead Calm” and “Eyes Wide Shut” – projects an ‘ice maiden’ image which she’s eager to defrost.

While Dutch writer/director Halina Reijn (“Bodies, Bodies, Bodies”) relates the entire psychodrama from Romy’s female perspective, she never delves into why Romy has never confessed her repressed desire for submissive game-playing behavior to her devoted husband Jacob (Antonio Banderas), who – ironically – is currently directing a production of Ibsen’s “Hedda Gabler.”

(That lack of conversation is reminiscent of “Disclaimer,” in which Cate Blanchett’s shame-filled character never told her husband she was raped by a young man while on vacation in Italy.)

On the Granger Gauge, “Babygirl” is a frustrating 5, playing in theaters.