'Everybody Wants to F–k Me' Review: Taron Egerton Lives a Performative Male's Worst Nightmare

What is going on with the straights and sex in the year 2026? It's one of the first questions I had in mind after watching director Jonathan Schey's feature directorial debut, "Everybody Wants to F–k Me." Its bold title, which at first reads like a brag or complaint but then feels recontextualized as a threat, is a striptease for a climax that never comes, one that mistakes being different for being profound. You extract four separate movies from Schey's film, and the problem is he swipes right on too many of these ideas for the result to feel like anything but disjointed . . .