‘Everybody Wants to F*ck Me’ Review: Taron Egerton Does ‘Obsession’ to Every Woman on Earth in Cynical Horror Comedy That Trips Over Its Dick

The film 'Everybody Wants to F*ck Me,' featuring Taron Egerton, has premiered at the Toronto International Film Festival (TIFF). Described across multiple outlets as a cynical horror comedy and a UK sex comedy, the plot centers on a dating nightmare where Egerton's character is hounded by women. According to reports, the narrative serves as a worst nightmare for a performative male, blending elements of obsession and psychological distress within a comedic framework. The film explores themes of obsession and dating through a lens that some critics characterize as sharp-toothed and cynical. Critical reception of the film is largely critical, with several outlets highlighting a disconnect between the lead performance and the overall quality of the production.

Screen Daily reports that Taron Egerton's performance is the only attractive element of what they describe as a UK sex comedy misfire. IndieWire describes the film as a cynical horror comedy that 'trips over its dick,' while The Film Stage suggests in its TIFF review that the movie 'climaxes too early.' Other coverage comes from TheWrap and The Guardian, both of which focus on the nightmare scenario Egerton inhabits throughout the story. Contextually, the film positions itself at the intersection of several genres, attempting to merge the tropes of the British sex comedy with horror and satirical social commentary. The focus on a 'performative male' suggests the film intends to critique specific modern masculine behaviors and the dynamics of contemporary dating. By debuting at a major festival like TIFF, the production sought high-profile visibility, though the early critical consensus emphasizes a failure in execution despite the presence of a high-profile lead actor like Egerton.

Looking forward, the industry will monitor how the film is received by wider audiences beyond the initial TIFF screenings. While critics from Screen Daily and The Film Stage have expressed disappointment in the film's pacing and overall impact, the specific nature of the 'dating nightmare' and Egerton's individual performance remain the primary points of discussion. Further coverage will likely determine if the film's cynical approach to the sex comedy genre finds a niche audience or if it remains viewed as a misfire by major entertainment publications.