Dir: Matt Johnson
Cast: Dominic Sessa, Emilia Jones, Antonio Banderas, Leo Woodall, Dagmara Dominczyk, Rich Sommer, Stavros Halkias
A combination of sensational performances, humour, raw emotion and even flashes of frustration, Matt Johnson serves up a dazzling coming-of-age biopic celebrating the late, legendary chef Anthony Bourdain
Canadian writer-director Matt Johnson is quickly establishing himself as a filmmaking chameleon. Renowned for his versatility—writing, directing, acting, and producing—he has steadily carved out a unique space in the industry since co-creating the indie docufiction web series “Nirvanna the Band” in the late 2000s. Over the years, Johnson has directed five feature films, most of which are infused with his distinctly Canadian perspective and often spotlight homegrown stories. His collaborations with Jay McCarrol, including both television and theatrical adaptations of their cult mockumentary series, further highlight his creative range. With early features like “The Dirties” (2013) and “Project Avalanche” (2016), and the recent “Nirvanna the Band the Show the Movie”, Johnson has nearly perfected the found-footage subgenre, using guerrilla filmmaking techniques and making magic on shoestring budgets.
With his latest project, Johnson takes his boldest leap yet, stepping beyond the Canadian indie scene as A24 backs his Anthony Bourdain biopic, “Tony”. This marks not only the largest budget of his career but also offers him a grander stage, especially in the US, where he is poised to expand his reputation beyond his Canadian roots. Two years ago, it was announced that Johnson would direct “Tony”, working from a script by Todd Bartels and Lou Howe, which had earned a spot on that year’s Hollywood Blacklist. Before this, Johnson had already turned heads with his wildly entertaining biographical comedy-drama “Blackberry” in 2023. That film, a dramatized retelling of the rise and fall of the Canadian mobile phone brand, was loosely based on the non-fiction book “Losing the Signal”, but even as he ventured into new narrative territory, Johnson managed to keep one foot firmly planted in his Canadian subculture.
“Tony” stands as Johnson’s first project untethered from his Canadian roots, zeroing in on the legendary Anthony Bourdain during a transformative summer in 1975. Taking Bartels’ and Howe’s script as a foundation, Johnson and his longtime collaborator Matthew Miller infused it with their signature creative spark, resulting in one of the most heartfelt, hilarious, and emotionally resonant biopics in recent memory. Like “BlackBerry”, “Tony” is loosely adapted from a work of nonfiction, this time from the opening chapters of Bourdain’s bestselling memoir “Kitchen Confidential”, which chronicles his formative years working in the bustling seafront kitchens of New England.
With so many recent biopics feeling tired and formulaic, Johnson and his co-writers breathe new life into the genre by honing in on a single, defining summer in Bourdain’s life—the moment he truly fell for cooking. We meet a wide-eyed, nineteen-year-old Anthony (Dominic Sessa), who, after being turned down for a writing fellowship at Vassar College, chases his high school crush Nancy (Emilia Jones) to Cape Cod. His parents remain blissfully unaware, believing he is still pursuing his academic dreams, while Anthony is swept up in a quest for love and self-discovery.
Anthony’s ego quickly lands him in hot water with the local hospitality crowd at the height of summer, leaving him penniless and sleeping rough. He wakes to find himself in a hammock on the patio of an enigmatic chef (Antonio Banderas), who offers him shelter—at a price. With no way to pay, Anthony becomes a pot washer in the chef’s bustling seafood restaurant. Despite knowing next to nothing about cooking or kitchen safety, he gradually learns the ropes. Over the course of the summer, Anthony forges unlikely bonds with the enigmatic chef and the unpredictable, womanizing Sal (Leo Woodall), all while keeping up the charade for Nancy that he is still a budding writer.
Heading into my advanced screening of “Tony” ahead of its UK release this Friday, I had no idea what to expect. I trusted the cast and Johnson’s vision, but as a longtime fan of his scrappy, low-budget work, I was both excited and a bit nervous to see how he would handle a polished, coming-of-age biopic. What he delivers is nothing short of remarkable. I went in knowing little about Bourdain, with his fame never quite reaching the same heights in the UK as in the US, but after two hours immersed in this semi-autobiographical journey, I walked away with a real sense of his spirit, his passion for cooking, and his outlook on life.
By breaking away from the usual cradle-to-grave formula, Johnson and his team give us a rare, intimate look at Bourdain as both chef and human being. Focusing on a single summer allows for deep, nuanced character work, especially through Sessa’s remarkable performance. After his breakout role in Alexander Payne’s festive dramedy “The Holdovers” a few years ago, Sessa brings a similar energy here, capturing Bourdain’s complexity. While I may not be the ultimate authority, it’s clear Bourdain was cherished by peers and fans alike, thanks to his decades of shows, books, and charity work. Portraying him as instantly unlikeable is a daring choice, especially given his tragic passing in 2018. Yet, the sharp writing and Sessa’s magnetic presence keep you rooting for this flawed, self-absorbed young chef, making his journey toward redemption all the more compelling. I suspect Bourdain himself would have admired this honest, unvarnished portrayal, as highlighted by a title card with him quoting: “I was — to be frank — a spoiled, miserable, narcissistic, self-destructive and thoughtless young lout, and badly in need of a good ass-kicking.”
That opening quote sets the tone: Johnson is unafraid to show Bourdain as a brash, arrogant teen in need of a reality check. Guiding Bourdain on his journey are two opposites—the reckless, self-destructive Sal and the steady, stern chef. Woodall shines as Sal, injecting humor and tension into the film, channeling some of the sly charm he displayed in “The White Lotus”. But it’s Banderas who truly steals the show as the chef, bringing warmth, gravitas, and a quiet strength to the kitchen chaos. As the story nears its end, a twist of fate delivers a powerful emotional blow, showing just how deeply Anthony’s actions affect his mentor.
The film dazzles visually, thanks to Johnson’s collaboration with acclaimed cinematographer Michael Bauman, whose recent Oscar-nominated work on “One Battle After Another” speaks for itself. Together, they conjure a vivid 1970s world, with sun-soaked beaches and lively Provincetown streets that transport you straight into an unforgettable East Coast summer. McCarrol returns to score the film, weaving in jazz-infused sounds inspired by the local scene, which heighten the sense of place and inject energy into the kitchen’s controlled chaos.
Honestly, it’s hard to find fault here—this is one of the finest modern biopics around. My only small quibble is with the romantic subplot, but even that sidesteps cliché and adds another layer to Anthony’s growth, culminating in a satisfying conclusion.
Even if you know little about Anthony Bourdain, I urge you to watch this remarkable mini-biopic capturing a turning point in his life. I barely knew his story before his passing, yet I was instantly drawn in. Not only is this one of the best biopics in recent memory, but it also makes for the perfect summer viewing as we endure one of the hottest seasons on record.
Tony is showing in UK Cinemas from Friday 14th August
Dan Loves Film 
Oooo, this looks good. Thanks!
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