Taron Egerton is back on the big screen with a role that's far from his usual heroic fare. In Jonathan Schey's debut feature, Everybody Wants to F*ck Me, Egerton plays Adam, a Londoner who prides himself on being one of the 'good ones.' He reads the right books, watches the right films, carries a Mubi tote bag, and knows exactly what to say to make a woman feel special. But beneath that carefully curated exterior lies a man who's never once questioned whether his performative niceness actually makes him a good person. It's this deliciously uncomfortable premise that fuels one of the most surprising films of 2026.
The film opens with a scene that sets the tone perfectly. Adam swoops in to rescue a woman named Olivia (Mia McKenna-Bruce) from a pushy guy at a club. He's smooth, thoughtful, and seemingly different. They bond over the Before Trilogy, share a kiss, and go home together. But by morning, Adam's charm evaporates. He can't hide his desperation for her to leave, retreating into what he calls a 'bojangled headspace.' It's a ridiculous yet painfully sharp moment that immediately establishes Schey's ability to dissect the modern male ego.
Adam's best friend Emma (Charly Clive) has seen this routine countless times and isn't afraid to call him out. But when Adam meets Sofia (Jessica Henwick) at a theater bar, he finally meets his match. Sofia sees right through him, mocking his dating profile and refusing to be charmed. Intrigued, Adam pursues her, eventually ending up at her commune-like home. What follows is a darkly comic twist: after a night that Adam assumes involves a sexual fetish, he wakes to find Sofia gone and no memory of what happened. Suddenly, women everywhere are obsessed with him—staring, flirting, even becoming aggressive. What starts as an ego boost quickly spirals into something terrifying.
Schey's script is a masterclass in genre-blending, moving from rom-com to thriller to horror with surprising ease. The humor is sharp and often uncomfortable, as when two men (played by Paddy Young and Freddie Meredith) make crude comments about a barista, prompting Adam to think, 'Thank God I'm not that guy.' But the film's real genius lies in its refusal to let Adam off the hook. He's not a villain, but his 'thoughtfulness' is rooted in unconscious bias and a desperate need for validation. Emma's description of his dating habits as 'romantic terrorism' feels increasingly accurate as the story unfolds.
Egerton delivers a career-best performance, capturing Adam's charm and his underlying emptiness. The supporting cast, including McKenna-Bruce and Henwick, are equally compelling. The film's final act goes completely off the rails, embracing body horror and absurdity in a way that's both shocking and hilarious. It's a bold debut from Schey, who proves he's a filmmaker to watch. For fans of horror-comedies that push boundaries, this is a must-see.
Everybody Wants to F*ck Me is a wickedly funny and unsettling exploration of modern dating, masculinity, and the lies we tell ourselves. It's one of the most original films to come out of TIFF 2026, and it's sure to spark conversations long after the credits roll. If you're looking for something that's equal parts laugh-out-loud funny and deeply uncomfortable, this is it. And if you're a fan of darkly funny crime comedies, you'll appreciate Schey's sharp wit here.
