In its quest to cater to nostalgia enthusiasts, Netflix has opted to resurrect a poorly received British comedy from the early 2000s. Titles like Sex Lives of the Potato Men, Three and Out, Fat Slags, and Lesbian Vampire Killers showcased a unique British approach to filmmaking, often contrasting starkly with Hollywood productions by delivering a decidedly less appealing experience.
The streaming giant’s algorithm has deemed it appropriate to revisit this less-than-cherished period with the release of Ladies First, a clumsy and gaudy comedy that would have seemed outdated even at its inception. This painfully unfunny concept explores a world where gender dynamics are inverted, failing to provide a fresh perspective while being overly self-satisfied with its supposed significance. Like its predecessors, it squanders a wealth of talent, featuring a cast that likely received generous compensation for their participation in what can only be described as a professional misstep.
Rosamund Pike stands out as a leading figure in this film, having delivered a remarkable performance in David Fincher’s Gone Girl. Unfortunately, she deserves far better than what this project offers. While she fits her role well, her co-star Sacha Baron Cohen feels miscast as Damien Sachs, a smooth-talking yet sexist character who undergoes a transformation. Unlike Mel Gibson, who was perfectly suited for a similar role in the far superior What Women Want, Cohen’s portrayal lacks the necessary charisma, resulting in a flat and awkward performance that drags the film down further.
The film’s central premise features Damien suffering a head injury, which transports him to an alternate reality where women dominate and men struggle for relevance. Characters like Paul Smith become Pauline, and Harry Potter transforms into Harriet. In this new world, Damien finds himself marginalized at the advertising agency where he once thrived, while Pike’s character, Alex, transitions from being overlooked to ascending the corporate hierarchy. Though Pike delivers a convincing performance as a ruthless executive, it still feels like a wasted opportunity.
Alongside other fantastical comedies that explore similar themes, such as I Feel Pretty and Isn’t It Romantic, Ladies First struggles to translate its intriguing concepts into effective storytelling. Often, these comedic fantasies sound promising in theory but falter when brought to life, relying on a thin premise that overstretches itself with inconsistent world-building. At a brief runtime of 84 minutes, Ladies First exemplifies this trend, repeatedly hammering home an important real-world issue—women’s undervaluation in the workplace—without offering any insightful commentary. While sexism and misogyny are undeniable realities, the film’s exaggerated portrayal of gender dynamics and workplace scenarios feels cartoonish and ultimately pointless.
With each strained joke, like the absurdity of replacing “motherfucker” with “fatherfucker,” one can sense the writers and director Thea Sharrock anxiously awaiting audience laughter, ready to clarify their simplistic humor if it falls flat. The script is more focused on overtly stating observations than genuinely delivering humor.
This film is a remake of a French comedy also under the Netflix umbrella, raising questions about its originality. For some viewers, there may be an odd appeal in witnessing bizarre scenes, such as Kathryn Hunter drunkenly performing in a nightclub or Emily Mortimer experiencing unfortunate bodily functions, but for a film that aims for silliness, it ultimately lacks genuine humor and becomes tiresome. By the conclusion, the film attempts to impart a serious message, which feels incongruous given its overall tone. The lesson learned here is less about male chauvinism and more indicative of the current state of comedy films in 2026. It’s no surprise that nostalgia is in vogue.
Ladies First is currently available for streaming on Netflix.
