Everybody Wants to F— Me Review
· dev
The Nice-Guy Act Unravels
Jonathan Schey’s debut feature “Everybody Wants to F— Me” is a wildly genre-bending comedy that sees right through Taron Egerton’s portrayal of a smooth-talking young man, but may be guilty of reducing its own progressive ambitions.
On the surface, the film appears to be a commentary on modern dating and relationships. Adam, played by Egerton, uses his charm to seduce women, often under the guise of being their boyfriend for the night. However, as the story takes a dark turn into supernatural territory, it becomes clear that Schey’s true intentions are not just to poke fun at Adam’s antics, but also to explore the toxic implications of his behavior.
The film’s portrayal of women who refuse to be seduced by Adam’s niceness is striking. Sofia, played by Jessica Henwick, delivers a scathing critique of the nice-guy trope: “Men don’t actually like women, they just want them to like them.” This line is both quotable and serves as a clever observation on societal pressures that encourage men to present themselves in a certain way.
Schey’s use of body horror and supernatural elements may seem jarring at first, but it can also be seen as a commentary on the ways women are expected to navigate their bodies and desires in a society hostile towards them. The film’s depiction of Adam’s increasingly bizarre experiences serves as a metaphor for the policing and control of women’s bodies.
One notable aspect of Schey’s script is its portrayal of Emma, Adam’s lesbian best friend who is settled into domesticity and impending parenthood. This could have been an opportunity to explore the complexities of non-monogamous relationships, but instead feels like a missed beat. A more nuanced exploration of attraction without toxicity or exploitation would have been welcome.
The film’s influence can already be seen in its hot-ticket premiere at Toronto and potential for viral conversation. However, it remains to be seen whether “Everybody Wants to F— Me” will have any lasting impact on the way we think about modern relationships and dating. As Schey’s debut feature, it is a promising start that highlights the need for more nuanced and complex portrayals of human relationships in film.
The rise of films like “Cléo from 5 to 7” and “What Now? Sorry, Love” has shown that audiences are hungry for more feminist and socially conscious cinema. Schey’s work is a testament to this trend, but also underscores the challenges of navigating complex human relationships on screen.
Taron Egerton’s portrayal of Adam is both darkly comedic and unsettling, serving as a reminder of the ways in which men’s entitlement can have far-reaching consequences for women. As Schey continues to hone his craft, it will be interesting to see whether he will continue to push the boundaries of what we expect from film.
Reader Views
- QSQuinn S. · senior engineer
While the film's progressive ambitions are certainly admirable, I think it glosses over the elephant in the room: how do we hold accountable those who prey on women without necessarily being malicious? The "nice guy" trope is a symptom of a larger issue - toxic masculinity. Schey's script does an excellent job highlighting this, but doesn't fully explore the gray areas between Adam's exploitation and genuine affection. I'd have liked to see more complexity in his relationships with Sofia, who seems almost too aware of her own commodification. A nuanced portrayal of consent would have added depth to the film's commentary on societal expectations.
- AKAsha K. · self-taught dev
The film's use of body horror as a metaphor for women's bodily autonomy is a bold choice, but it's not without its pitfalls. By relying on supernatural elements to convey this message, Schey risks diluting the impact of his social commentary. A more grounded approach might have allowed viewers to connect with the themes on a deeper level.
- TSThe Stack Desk · editorial
The film's use of body horror and supernatural elements raises questions about the blurring of lines between social critique and exploitation. While Schey's intention is to lampoon toxic masculinity, the result can feel like a clever repackaging of provocative material rather than genuine subversion. The film's portrayal of women who resist Adam's advances is indeed striking, but one wonders if this narrative thread could be further interrogated: what does it say about our society that we're still shocked when women assert their boundaries?