‘Everybody Wants To F*ck Me’ review: A committed Taron Egerton boosts London-set sex comedy

Dir/scr: Jonathan Schey. UK. 2026. 97mins 

“I’m a nice guy,” Adam Samuels (Taron Egerton) persistently exclaims in writer/director Jonathan Schey’s sex-thriller-comedy Everybody Wants to F*ck Me. Adam is a supposedly sensitive lady’s man who has a one-night stand with the wrong woman, waking up the next day from the odd tryst to discover that all women just can’t get enough of him. But the dream soon becomes a nightmare as their desires become more ravenous. Edgerton gives a fully committed turn as Adam, helping boost this London-set debut through its less successful moments.

Edgerton gives proceedings a bounce through his acute comic timing and beguiling sensibility

Schey makes his feature debut here having previously directed television, helming episodes of Ladhood – a soul-searching UK comedy series about a man reflecting back on the relationships and anxieties that have shaped him. With Everybody Wants To F*ck Me, Schey attempts a similar introspective trick with a gender lark that recalls movies like What Women Want, She’s All That, and more recently, Obsession. Those works saw self-aggrandising men get their comeuppance from far smarter women, but this film, which premieres as a Toronto Special Presentation, aims for much broad comedy and can sometimes miss the mark. 

Adam is a real problem character in need of a competent critique. In the film’s engaging opening scene, we see this ’softboi’ smoothly approach a woman (Mia McKenna-Bruce) in a club who is being hit on by an overeager guy. Adam knows exactly what to say to the woman to reassure her. Though they spend the night together, Adam’s spark for her has dissipated. He explains that he’s in a ‘bejangled headspace’ and breaks things off. This is Adam’s consistent playbook as a sex addict who burns through women. Performative masking of his rapaciousness is enough to disgust his lesbian best friend Emma (Charly Clive), who calls him an emotional terrorist. 

Adam doesn’t heed these warnings. He genuinely believes he is as a sensitive guy. He drops references to Richard Linklater’s Before trilogy – he takes pride in having seen the first movie — has a poster of Cleo From 5 To 7 in his apartment and a dog named after singer Alana Haim. He carries a Mubi tote to the grocery store and reads books centered on women. By being the only male employee at an all-female art gallery, he holds the seal of approval from his co-workers, which is only heightened whenever he openly supports his female colleague (Antonia Clarke) to helm an exhibition for hardcore feminist artist Lena Ackerman. Schey’s screenplay leans into these winking, knowing references which makes for a breezy first half, but unfortunately the final hour is less developed.

Things take a turn when Adam meets lonely Sofia (Jessica Henwick) at a bar. A supposed classics major, she knows his game. He plays along. But she infects him with something that causes a rash on his crotch, his dog to turn on him and women to be insatiably attracted to him. Adam’s internal fear of women becomes externalised in their horrific pursuit of him. Yet Schey doesn’t push the premise as far as it could go, despite attempts to add themes of dark magic, biotech science and satyr mythology onto the frights, and Adam does not seem to learn much about these women beyond their attraction to him. Yet, throughout, Edgerton gives proceedings a bounce through his acute comic timing and his beguiling sensibility, which breathe real life into a challenging character.