Movie Review: ‘Tony’

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Review by Adam Courtliff

The rise of biopics hitting the cinema has become hard to ignore, with each new release feeling more like a glorified tick-box exercise than a genuine attempt to delve into the lives of the people they are covering. Of course there are a few exceptions to that rule, but finding those gems is becoming more and more like searching for a needle in a haystack. Thanks to Matt Johnson, however, the impossible has somehow been achieved in Tony, the Anthony Bourdain biopic. It is comfortably one of the genre’s finest of the decade, offering a heartfelt portrait of one formative summer in the legendary chef’s life.

Set in the summer of 1975, Tony follows a teenage Anthony Bourdain (Dominic Sessa), a young man with a huge chip on his shoulder who is evidently far too clever for his own good at times. After his college rejects him for a summer fellowship, shattering his dream of becoming a writer, he is brought down a peg or two. Not to be deterred, and driven to escape the overzealous parenting of his dad, Pierre (Rich Sommer), and mum, Gladys (Dagmara Domińczyk), Bourdain heads to the beach town of Provincetown, Massachusetts. He hopes to reconnect with his high school crush, Nancy (Emilia Jones).

With not a penny to his name and desperate to make things work, Bourdain takes a kitchen job at a local seafood restaurant under the tutelage of Chef (Antonio Banderas), who allows him to sleep on his porch in a hammock. It’s in the kitchen where he faces the biggest challenge of his life yet. He could take the wrong path and fall into a world of distractions and lasting consequences by befriending the wrong people, namely oyster shucker Sal (Leo Woodall). Or he could embrace the culinary arts, hone his skills and transform himself from a boy into a man.

Biopics like this often struggle to find the right tone consistently, instead offering a whistle-stop tour of the subject’s life that rarely develops them beyond a highlight reel designed to provide two hours of fan service. Tony is anything but that. By focusing on one vital coming-of-age summer of Bourdain’s life, director Matt Johnson and his team of writers show how he became the man he would eventually be. They also refuse to shy away from the fact that he was far from perfect. The film even presents an unlikeable side of Bourdain at times, highlighting the selfish and immature behaviour that caused more harm than good.

Johnson balances the comedy, drama and romance that make up the film. None of them ever feel overpowering. Instead of delivering an artificial, polished retelling of Bourdain’s life, Johnson keeps the biopic raw, authentic and gritty without making it emotionally exhausting. He allows events to unfold as naturally as possible. That approach draws audiences completely into the experience and, despite obviously knowing how events unfold, makes the bigger moments land with a gut punch.

Even if Tony is more poignant than you might expect, a Matt Johnson production is always going to deliver plenty of comedic relief. After already giving us one of the funniest films of the year in Nirvanna the Band, the Show, the Movie, expectations were rightfully high. What was perhaps unexpected, though, is just how funny this really is. It genuinely has no right to be as hilarious as it is, with the laughs extending far beyond the occasional chuckle and into full-blown fits of laughter. There’s definitely an argument to be made that Johnson is responsible for the two funniest films of the year so far.

Even the romantic elements, where it felt like the film might stumble, are handled perfectly by Johnson and his team. Nancy comes across as that out-of-reach puppy love you always obsess over as a kid but never quite get the chance you’ve been hoping for. The film captures that feeling particularly well in the first half. As they spend more time together, it’s a relationship you can’t help but root for because it develops so naturally.

The more technical elements are equally accomplished. Michael Bauman’s cinematography transports audiences back in time. The 1970s aesthetic of Provincetown’s boardwalk feels completely immersive. Johnson’s decision to bring his close friend Jay McCarrol on board for the music proves to be another masterstroke. The score complements the tone throughout. The costumes were also a personal highlight, brilliantly recreating the fashion of the era.

For a film like this to truly work, it relies heavily on the cast, and Dominic Sessa as Bourdain is a triumph. It’s been a few years since Sessa burst onto the scene with his outstanding turn in The Holdovers. His next few roles have been admittedly a little underwhelming. Here though, he reminds everyone why he is one of the most exciting young actors working today. He effortlessly strikes the balance between the “bad boy” persona Bourdain puts on and the more shy, charming nature hiding underneath.

The superb supporting cast is led by Antonio Banderas, who delivers some of his finest material in years as Bourdain’s mentor. But it’s Leo Woodall who threatens to steal the entire show as the closest thing the film has to a villain. He displays impeccable comedic timing while showcasing his versatility with a role unlike anything we’ve seen from him before. It adds yet another feather to an already impressive résumé.

Tony is undoubtedly one of the finest biopics of recent memory. It’s a distinctive and invigorating spin on a very tired genre, staying earnest and immensely entertaining from beginning to end. Whether you’re already a fan of Bourdain or simply curious, it’s well worth seeking out. You’ll walk out of the auditorium with the biggest, cheesiest grin on your face.