All I Wanna Do (originally titled The Hairy Bird) is a 1998 American comedy film written and directed by Sarah Kernochan.

Originally titled The Hairy Bird, the film's screenplay, set in 1963, is based loosely on Kernochan's experiences at Rosemary Hall around that time.

Upon arrival at the school, which is run by the stern but kind headmistress Miss McVane, Odette is introduced to her roommates, the intelligent and charismatic Verena von Stefan and the promiscuous Tinka Parker.

The club is led by Verena, and consists of several other girls, including Theresa "Tweety" Goldberg, a bulimic who self-induces vomiting by drinking ipecac syrup and plans to be a child psychologist; and Maureen "Momo" Haines, a well-spoken science nerd and aspiring biologist.

As the St. Ambrose dance arrives, Verena and Momo concoct a plan to cast the boys' academy in a bad light by spiking the fruit punch with alcohol from the chemistry lab and feeding them Tweety's ipecac to induce vomiting during their choir performance; Verena then plants empty liquor bottles in their school bus.

The same night, Dennis arrives at the academy dressed in a St. Ambrose uniform and meets Odette for their rendezvous in the attic of the school.

(Confusion over the many titles has caused it be labeled differently on various U.S.-based digital distribution platforms—such as Amazon Prime Video and YouTube—which often list it as "Strike!

"[8] He also noted that the film is "surprisingly pleasant, thanks to smart, unstereotyped performances – especially by Ms. Hoffmann and Ms. Dunst – and the filmmaker's evident respect and affection for her characters.

"[8] Writing for the Australian publication The Age, Tom Ryan deemed the film "an appealing slice of nostalgia for a time when the world seemed ready for the taking for those with enough spunk to try.

Club favorably reviewed the film, noting that in its final act it "gains focus and momentum, becoming less a nostalgic celebration of female bonding than a boldly feminist teen sex comedy that isn't above the occasional group-vomiting scene.

It improves steadily as it goes along, right up through an enormously satisfying ending that combines rousing rhetoric about the price of gender inequity and the power of group solidarity—and throws in a rowdy snobs vs. slobs setpiece worthy of Animal House.