Taron Egerton Stars in Jonathan Schey's Toronto Premiere 'Everybody Wants to F— Me'

Key points

• The film premiered at the Toronto International Film Festival on September 11, 2026, with a queue extending two blocks, indicating high audience interest.
• Taron Egerton plays Adam, a character who works at an all-female art gallery and performs progressive behavior, but is revealed to be a manipulative 'nice guy' who ghosts women after sex.
• The plot shifts from romantic comedy to body horror after Adam is drugged during a one-night stand, causing him to emit pheromones that make women aggressively pursue him.
• The film is a UK production by Parkville Pictures and LuckyChap, with world sales handled by Studiocanal.
• Critics noted the film’s 102-minute runtime and its blend of genres, including romantic comedy, body horror, and gender-war satire.

Background

This film follows the trend of 'social thrillers' and genre-bending comedies that have gained attention at recent festivals. It is produced by LuckyChap, the company behind 'Promising Young Woman,' suggesting a similar thematic focus on gender dynamics and revenge. The film’s premiere at TIFF aligns with the festival’s recent focus on provocative, conversation-starting titles, similar to 'Obsession' which also sparked debate about victimhood and villainy in media.

How outlets are covering it

Variety critic Guy Lodge praised the film as a 'giddily genre-crossing comedy' that effectively deconstructs the 'nice guy' archetype, though he criticized its conservative conclusion regarding monogamy. The Guardian’s review highlighted Taron Egerton’s fearless performance and the film’s sharp satire, comparing it favorably to 'Promising Young Woman' but noting a poorly thought-out convenience in the plot. In contrast, the New York Post’s Johnny Oleksinski dismissed the film as 'dumb' and 'tedious,' arguing that the premise is a single joke that falls apart, and criticized the abrupt editing and lack of coherence. The reviews diverge on whether the film’s shift into body horror is a clever subversion or a confusing misstep, with Variety and The Guardian seeing it as a bold, if flawed, satire, while the New York Post views it as a incoherent mess.

Why it matters

The film’s strong premiere at TIFF and the polarized critical reception suggest it may become a significant cultural talking point regarding gender politics and the 'nice guy' trope in cinema. Its production by LuckyChap and distribution by Studiocanal indicate a major studio push for a genre that blends comedy with horror, potentially influencing future projects in the 'social thriller' subgenre. The debate over its message and execution reflects broader cultural conversations about masculinity, consent, and the limits of satire in mainstream cinema.

What to watch

The film is expected to seek US distribution, with world sales handled by Studiocanal. Its performance at TIFF and the critical buzz may influence its release strategy and marketing, particularly given the debate over its genre and message. The film’s potential to become a viral conversation piece, as noted by Variety, suggests it may gain significant attention in the coming months, especially if it secures a wide release or awards recognition.