Film Review – Tony (2026)

      Tony, 2026.

      Directed by Matt Johnson.

      Featuring Dominic Sessa, Emilia Jones, Leo Woodall, Antonio Banderas, Dagmara Dominczyk, Rich Sommer, Stavros Halkias, Monica Raymund, Liam Fitch, Reece Grover, Allyn Burrows, Caroline Portu, Derek K. Moore, Ava Davey-Bissett, and Michael Jibrin.

      SYNOPSIS:

      A 19-year-old Anthony Bourdain arrives in Provincetown and immerses himself in the hectic environment of a restaurant kitchen, triggering a transformative summer that will influence his future.

      When director Matt Johnson makes a film about a notable figure, there are three aspects that are nearly certain: it will be engaging and lively, it will avoid conventional clichés, and it will present an unvarnished depiction of its subject's life and personality. For instance, Tony opens with a quote from Anthony Bourdain’s book, Kitchen Confidential: Adventures in the Culinary Underbelly (which could be seen as a vital source for the screenplay that he co-wrote with Todd Bartels, Lou Howe, and his usual collaborator Matthew Miller), stating, “I was — to be frank — a spoiled, miserable, narcissistic, self-destructive and thoughtless young lout, and badly in need of a good ass-kicking.”

      This refreshing honesty resonates in Dominic Sessa’s portrayal, reminiscent of his rebellious student character in Alexander Payne’s poignant holiday dramedy The Holdovers. It highlights that Matt Johnson's interest lies more in depicting the reality of individuals rather than glorifying myths or achievements; his biopics tend to diverge from traditional formats, focusing on genuine human experiences. Although we know this movie is about Anthony Bourdain, the character's surname isn’t mentioned until the conclusion.

      At 19, he prefers to be called Tony. This early dialogue effectively suggests that this typical young man from the 1970s could be any of us, grappling with flaws, errors, and identity crises typical of someone who is still trying to find their footing in life. Technically a student at Vassar College in Poughkeepsie, NY, Tony dreams of becoming a writer, applying for a fellowship which he misleadingly claims he was accepted into, bragging to everyone, including his parents (portrayed by Monica Raymund and Rich Sommer), about a coming-of-age tale. He possesses a sense of entitlement, believing he deserves opportunities, whether in his career or in winning over Nancy Putkowski (Emilia Jones), a crush from high school who dismisses him at a bar but encourages him to connect with her in Provincetown after his fellowship.

      With no clear direction, nothing to occupy him, and a tendency to fabricate stories, Tony makes his way to Provincetown to see Nancy, asserting that the fellowship is based there. At this stage, it wouldn’t be surprising for viewers to find Tony quite unlikable and somewhat obsessively awkward (before departing from home, he removes her yearbook page, which includes a meaningful quote from a respected writer, to use as a tool for gaining her favor). He also lacks a place to stay and drunkenly offends Ciro (Antonio Banderas), the owner of a local seaside eatery, who takes pity on him and gives him free lodging in exchange for dishwashing duties in the chaotic restaurant kitchen, where he works alongside a diverse group of brash characters fitting of the unfiltered era (some of these antics become somewhat repetitive in the movie’s middle section).

      While comedian Stavros Halkias brings humor (playing a character named Stavros), Leo Woodall’s endearing, scruffy character Sal stands out; he serves as both a dubious ally when Nancy becomes suspicious and a symbol of the darker path Tony might take.

      As the film progresses, Tony (as expected) uncovers a talent for cooking, which he feels ashamed of and views as a distraction from his writing aspirations. One might wish for deeper exploration of his relentless drive to become a writer (his mother was a journalist, so a few more scenes between them could have shed light on this), but his rejection of the idea of becoming a chef—despite his evident talent—still holds significant weight.

      In line with the narrative, it is only natural that he begins to consider pursuing cooking as a career when Nancy, upon uncovering more of his lies, shows interest in his culinary skills (she works nearby at a pizza shop and another seaside stand). This film, while deeply engaging as a character exploration, can also be seen as a lighter companion piece to Matt Johnson’s earlier work, featuring someone seeking the attention of a crush instead of the music venue The Rivoli. The film contains many jokes and recurring gags typical of Matt Johnson, with expertly crafted setups that lead to unexpected punchlines later on. His longtime friend and collaborator, Jay McCarroll