Everybody Wants to F*ck Me Review: Obsession Meets Notting Hill in Horror Comedy Takedown of Performative Men
TIFF: Taron Egerton plays a London fuckboy whose life is upended when every woman is suddenly attracted to him
by Alex Kaan 23 September 2026
StudioCanal
An unfortunate Hollywood byproduct of tapping into the zeitgeist is that you’ll often have a doppelgänger. 2011 rom-com No Strings Attached was followed by Friends with Benefits only six months later, while nunsploitation revivals Immaculate and The First Omen were released within two weeks of each other in spring 2024. Now, with global horror phenomenon Obsession fresh in most audiences’ minds, we have another film about a Nice Guy™ stalked by a woman who is obsessed with him, or in this case, one stalked by every woman.
While the comparison will be inevitable for most audiences, the similarities stop there. If a driving force of Obsession, a harrowing full-blown horror film, was challenging its audience with the gradual understanding that its protagonist is actually a villain, the debut feature from writer-director Jonathan Schey knows its lead is a bad guy from the jump — and has fun showing it. A lighter but nonetheless sinister take on the modern dating observations of Obsession, Everybody Wants to F*ck Me is a slick satirical horror comedy that fatally skewers the MUBI tote-wearing, Ottessa Moshfegh-reading performative male.
Adam Samuels (Taron Egerton) is a 30-something Londoner who spends his time working as an assistant at a woman-owned art gallery, running in Victoria Park with his cute dog Alana (after the Haim sister, of course), and reading Edna O’Brien’s memoir Country Girl in hip coffee shops in Hackney while making sure that women are noticing. Through it all, he’s checking out every woman that wanders into his eyeline. And as we learn from an opening scene that plays like a bona fide horror film’s opening kill — in which Adam seduces someone (Mia McKenna-Bruce in a cameo) by expressing his love of “Before Sunrise” — he’s using a carefully crafted veneer of sensitive, harmless masculinity to get women quickly in and out of his bed.
StudioCanal
While his concerned but mostly amused lesbian best friend (Charly Clive) brands him a romantic terrorist in jest, Adam is only faced with the consequences of his actions when he goes home with the wrong woman, a classics grad student named Sofia (Jessica Henwick). After engaging in what he believes to be a night of kinky sex, he wakes up with no memory of what happened, but soon finds his life rather dramatically changed. For reasons unknown, every single woman in the city is now attracted to Adam. At first, it’s something of a dream come true, but when he finds himself alone, the attraction turns predatory, where the women seem less interested in having sex with him and more keen on tearing him apart.
Aside from a superb Taron Egerton at his most hateable, the greatest appeal of Everybody Wants to F*ck Me is a truly unique tone that takes the charming London setting of a vintage Hugh Grant rom-com and turns it into a hellscape with an It Follows-esque threat. Schey plays fast and loose with genre conventions, and the film maintains a livewire energy because of how seamlessly the jokes and the jump scares mix.
Often resorting to a tell-not-show policy, the satirical edge of Everybody Wants to F*ck Me becomes slightly dulled in the film’s latter half. The initial conceit — a covertly predatory man who treats all women as objects is punished by the roles being reversed — loses some steam when it becomes clear that Schey isn’t as interested in probing Adam’s psychology as he was at the start of the film, and the commentary consequently comes off muddled until a clever epilogue that ends the film on a high. Still, even if it doesn’t entirely live up to its promising premise, this deserves to become a buzzy theatrical event and a conversation-starter.
Even when it stumbles, Everybody Wants to F*ck Me is a funny, frightening thrill ride with an insightful read on modern dating culture and a stellar performance from Taron Egerton playing against type.