Tony Review

If you walk into Tony blind, you might not immediately pick up on the fact that it’s about Anthony Bourdain. Matt Johnson’s film doesn’t try to condense Bourdain’s entire life into a feature. He doesn’t even cover one of the more well-documented chapters of Bourdain’s life. Instead, Johnson focuses on a summer during Bourdain’s late teens as he contemplates who he’s going to be. This makes for a more personal biopic, both in terms of Johnson’s vision and his subject. If Bourdain were still alive, I think he’d enjoy Tony. That’s not to say he’s portrayed in the most flattering light, although based on a quote at the top of the movie, Bourdain knew that his teenage self needed a good ass-kicking.

Dominic Sessa of The Holdovers reminds us why he’s one of the most promising actors under 25. He plays Bourdain as a cocky bull-shitter who thinks he has everything figured out. He wants to be a writer, yet has no idea what to write about. As such, the writing fellowship he planned on getting goes to someone else. Anthony – or Tony as everyone other than his mother calls him – instead boards a boat to Provincetown, Massachusetts. He plans on winning over his high school crush Nancy (Emilia Jones), telling her that he was sent to Provincetown on his fellowship. Nancy suspects Tony is full of it, but a part of her wants to believe him.

Since Tony followed Nancy on a whim, he has nowhere to stay, and someone with a face as punchable as his is bound to get robbed. Antonio Banderas’ Chef – as he’s called – takes pity on Tony, letting him crash on his hammock on the porch. In exchange, Tony works at his restaurant as a dishwasher, but cooking is his natural calling. Tony doesn’t become a culinary prodigy overnight, however. He clearly has talent in the kitchen, which will inevitably bring out his inner writer as well. Yet, the film is less about Tony discovering his passion for food and more about a young man learning to take responsibility.

Banderas is especially strong as the mentor who attempts to guide Tony, giving him the tough love he never got at home. Leo Woodall is another standout as a fellow restaurant worker who becomes something of a big brother figure to Tony. Of course, big brothers can get into their fair share of trouble, mirroring the kind of man Tony might become if he continues down this reckless route. I wish there was a little more time dedicated to some of the supporting players. Nany, in particular, never quite evolves beyond the girl next door archetype, although Jones is appealing in the role.

While Tony avoids the traps of most other celebrity biopics, it doesn’t revolutionize the coming-of-age genre either. Even so, Johnson’s direction brings a laidback charm in what’s ultimately a hangout movie, and a good one at that. It doesn’t reach the heights of Johnson’s last biographical film, BlackBerry, but there is an undeniable warmth to Tony that makes us root for the titular character, despite his numerous flaws. That said, the film also has a biting edge with Johnson’s signature all over it. Tony honors who Anthony Bourdain was and ultimately became. Johnson doesn’t sugarcoat it, although quite frankly, Hollywood biopics could use a little more salt.