Everybody Wants to F— Me: Taron Egerton's Nice-Guy Act Gets a Reality Check

When Nice Guys Get a Little Too Much Attention

Just when we thought the victim/villain debate around the sleeper hit 'Obsession' was finally fading into memory, along comes 'Everybody Wants to Fuck Me,' another story about a young man's desires getting violently over-satisfied. It's the kind of film that makes you question your own assumptions about consent and agency — while also making you laugh at the absurdity.

"Men don't actually like women — they just want women to like them."

So there's that line from Sofia (Jessica Henwick) that hits harder than it probably should. In this British comedy, we follow Adam, played with perfect comedic timing by Taron Egerton, who is the epitome of a 'nice guy.' He's got a gallery job, a Mubi tote bag, and he's apparently read the right books — all those literary references that signal to women that he's a sensitive soul. But let's be honest, this is 2026, and we're already past the point where a man's interest in feminist literature is enough to win over a woman's heart.

The Uncomfortable Rise of the Desirable Man

Adam's routine? He's got a WhatsApp full of women who've been seduced and then abandoned. But something changes when his body count skyrockets — literally. What begins as a romcom with a bit of gender-bending satire quickly morphs into something far more disturbing. And I mean that in the best possible way.

It's the poster for Agnès Varda's 'Cléo from 5 to 7' on his bedroom wall that raises eyebrows, even before Liv (Mia McKenna-Bruce) wakes up in his bed one Sunday morning. The film is sharp-eyed enough to recognize the cultural signifiers — the books by Ottessa Moshfegh and Edna O'Brien on his shelf, the scruffy, heterochromic dog named Alana. All these things tell us something about Adam's character — or at least, how he wants to be perceived.

But as we see him navigate the treacherous waters of modern dating, it becomes clear that this is a guy who thinks his social status and appearance give him license to act however he pleases. It's not malicious, but it's certainly problematic — and the film does an excellent job showing how such entitlement can manifest in unexpected ways.

Body Horror for the Modern Age

Schey's direction is as sharp as it is surprising. The genre-bending nature of the story might throw some viewers off — we start with a romantic comedy, then suddenly find ourselves in a body horror nightmare. But this is where the film truly shines. The visual language of the film becomes a form of satire itself, with inflamed STI imagery that would make David Cronenberg proud. It's darkly comedic, but also deeply unsettling.

The film's best moment comes when Adam starts to realize something isn't quite right — and by 'something,' I mean the strange rash forming down his crotch. Is he imagining things? Or is this the literal embodiment of the toxic masculinity he's been practicing?

What makes this film even more powerful is that it doesn't just let us feel bad for Adam — it lets us see him as a product of a system that allows him to believe he's entitled to what he wants. And when he starts to realize his power is a façade, it's a delicious form of poetic justice.

The Problem with the Script

Egerton's performance is a highlight — he's funny, neurotic, and genuinely sympathetic, which makes the horror of his situation even more effective. But let's be real: Schey's script has some missteps. For all its satirical brilliance, it seems to advocate for a rather conventional solution to Adam's behavior — that is, settling down with Emma (Charly Clive) in a domesticated monogamy and imminent parenthood.

This is where the film falters. It could have explored more nuanced ways of being a horny little devil — maybe even giving us some kind of feminist fantasy. Instead, we're left with what feels like an old-school moralistic ending that undermines its own subversive energy.

A Genre-Defying Masterpiece

Despite its flaws, 'Everybody Wants to Fuck Me' is a triumph in genre-bending. It's slick, witty, and absolutely unafraid to push boundaries. The film is clearly indebted to Scandinavian relationship comedies in tone and style — think 'Skam' meets 'The Danish Girl' with a healthy dose of body horror.

It's the kind of film that makes you laugh, then squirm, and finally realize that you've just watched a sharp commentary on modern masculinity. And while it might not be everyone's cup of tea, it's definitely one of the most entertaining films of the year — if for no other reason than its willingness to be absolutely ridiculous.

So yes, 'Everybody Wants to Fuck Me' is a genre-crossing comedy that hits harder than it should. And thanks to Taron Egerton's performance and Jonathan Schey's bold direction, we can't look away. In fact, we shouldn't — because this film might just make us rethink what we think we know about desire, power, and the price of being liked.