There’s something about Tony that really cooks.
Directed by Matt Johnson, Tony introduces us to iconic chef Anthony Bourdain (Dominic Sessa) as a young man that retreats from his life to the tiny seaport of Provincetown, Rhode Island. Determined to make it as a writer, he arrives with no money in his pocket and is forced to take a job in a small, local kitchen. Led by the mysterious Ciro (Antonio Banderas), this kitchen of misfits challenges Tony to face himself at a time that will change the course of his life.
Johnson seems to excel at telling stories of loveable misfits searching for their place in the world and that spirit inhabits his screenplay. Though there may be some comparisons here with his other recent work, he truly breathes life into this particular story. Within Tony is a restlessness that never ceases, driving this portrayal of Bourdain with furious tension. By focusing on this particular era of Bourdain, Johnson manages to capture that moment between youthful irresponsibility and adulthood. Here, the cooking icon is caught within in a space of ‘now’ v. ‘not yet’, pushing towards the sort of man that he wants to be.
But this also allows the film to hold fast to its hopefulness. Though we know Bourdain’s story ultimately ends in tragedy, this is a period of time in his life filled with choice and transformation. As the very beginning of his journey, we understand the raw talent and the challenges that prevent him from finding his true calling. (“I’m a writer,” he insists, even when others continue to remind him that he is not.) In this spirit, Tony isn’t particularly portrayed as an ‘up-and-coming’ chef.
Instead, he’s an up-and-coming man.
And credit must also be given to Sessa as well for bringing that reckless spirit to life within his performance. Perhaps best known for his breakout role as Angus in The Holdovers, the young actor has the ability to capture the frustration that comes with adolescence while displaying a maturity that counterbalances his inner chaos. As such, his work as Bourdain actually feels like a natural progression from his time in the role of Angus. Whereas Angus felt like a young man in need of saving, he portrays Bourdain very much on the cusp of accepting responsibility for his life. Yes, there’s an unruliness about him. But, at the same time, he’s willing to wrestle his demons to the floor when called upon.
Even so, it might be Banderas who shines most brightly in Johnson’s world. As Tony’s mentor, Ciro, Banderas is positively beaming with grumpy charisma. He’s a man who has seen the best yet feels trapped within the remains of his life. Ciro is a man with a legacy of quality and believes he has something to offer. Still, no one has shown him any real potential.
Enter Tony.
Though he’s rough around the edges and semi-delusional, there’s something special within Tony that Ciro can’t help but recognize. Their back-and-forth relationship is the soul of the film, ensuring that this isn’t merely a tale of wild youth but a call to something with more purpose. (It’s also fascinating that Ciro is portrayed as a man of faith, even if it’s only touched on lightly.)
However, that’s the battle facing Bourdain. Tony is an exploration of one young man’s journey to find meaning in a world where randomness leads the way. To varying degrees, each of the other men in Ciro’s kitchen sit on a spectrum of toxic masculinity. For some, they’re just unruly roughnecks. For others, there’s something deeper and, potentially, darker.
Credit where credit is due. While Johnson hardly reinvents the ‘biopic’ genre with Tony, he certainly creates something that feels original and engaging. This isn’t a story that fawns over the kitchen or Bourdain’s particular branding (at least, not much). Rather, through his own unique brand of heart and humour, Johnson’s vision of Bourdain manages to remind us of the man behind the legacy and, at the same time, create something entirely relatable. Here, Tony’s journey could be any ours. And that makes the film positively delicious.
Tony is available in theatres in Toronto and Montreal on Friday, August 14th, 2026 and goes wide on August 21st, 2026.
