{"id":5134,"date":"2026-07-29T16:39:01","date_gmt":"2026-07-29T16:39:01","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=5134"},"modified":"2026-07-29T16:39:01","modified_gmt":"2026-07-29T16:39:01","slug":"tony-review-dominic-sessa-gives-his-first-movie-star-performance-in-matt-johnsons-tasty-biopic-about-the-young-anthony-bourdain","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=5134","title":{"rendered":"\u2018Tony\u2019 Review: Dominic Sessa Gives His First Movie-Star Performance in Matt Johnson\u2019s Tasty Biopic About the Young Anthony Bourdain"},"content":{"rendered":"
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\n\tWatching a biopic, or reviewing one, I can\u2019t say that I\u2019ve ever spent much time wondering what the subject of the movie might think of it. Would James Brown have liked \u201cGet On Up,\u201d the superb 2014 drama about him? He would probably have found something in it to gripe about. Elton John lovingly endorsed \u201cRocketman,\u201d the 2019 film about him that I thought was a laughably inauthentic piece of junk.<\/p>\n

Read more Sundance Teases New Theaters in Boulder, Expanded Competition Slots as Industry Heads to Colorado for \u2018Orientation\u2019<\/a><\/p>\n

\n\tBut as I watched \u201cTony,\u201d Matt Johnson\u2019s drama about the young Anthony Bourdain and the summer he spent in Provincetown working in a restaurant kitchen for the first time, I couldn\u2019t help but wonder what Bourdain himself would have made of the movie. How could you not wonder? He was too opinionated, too no bullshit, too much of a movie fanatic, too much the kind of guy who would greet a film about him not by feeling flattered but by pissing all over it because it had missed the real story. To me, if an Anthony Bourdain biopic can\u2019t clear the bar called \u201cBourdain would have liked it,\u201d <\/em>it\u2019s probably not a good movie.<\/p>\n

\n\t\u201cTony\u201d clears that bar. It\u2019s true to what happened to Bourdain in 1975, when he was a restless 19-year-old college student spending the summer in Provincetown. The movie is structured as a romance, and some of it is fictionalized, but it\u2019s true to the person he was and was becoming: a charmer, a troublemaker, a middle-class Jersey refugee with some serious demons, an aspiring writer with an extraordinary gift of gab, a sweet kid, a hustler, and an asshole. \u201cTony\u201d has been framed as the origin story of how Anthony Bourdain became Anthony Bourdain. But one of the many things that Matt Johnson, the director of \u201cBlackberry\u201d and \u201cNirvana The Band the Show the Movie,\u201d understands is that Anthony \u2014 or, as he called himself then, Tony \u2014 already was Anthony Bourdain.<\/p>\n

\n\tIn the opening scene, he\u2019s trying to impress a panel of English professors at Vassar College, pitching them the novel he wants to write, so that he can be chosen for a summer writing fellowship. He\u2019s giving them a spiel, but it\u2019s brilliant, and you feel the electricity of his talent \u2014 his subversive and funny desire to stir the pot. We can already hear his voice<\/em>, which sounds like the voice of a flaked-out post-counterculture brainiac bohemian crossed with Howard Stern.<\/p>\n

\n\tThe movie is based on several early chapters from \u201cKitchen Confidential: Adventures in the Culinary Underbelly,\u201d the extraordinary my-life-in-restaurants memoir, published in 2000, that made Bourdain an overnight celebrity. For some of us, his voice in that book was transcendent \u2014 the way he was so cathartically honest about the life he\u2019d led, his pursuit of pleasure and appetite and escape (to the point that he became a functional heroin addict), and his unprecedented evocation of what it\u2019s really like to work in a restaurant kitchen, which he depicted as a rough-and-tumble sweatshop of discipline and ball-busting and perfectionistic culinary fetishism. He made you want to be there, in the heat, on the line; he also made you think at times, There but for the grace of God\u2026<\/p>\n

\n\tBourdain tapped into our collective obsessive belief in food as something holy, but he also showed you the truth of that world as if it were a movie: the funk and the flavor, the addiction and abuse, the cold-beer-at-midnight glory. Even before he became the preeminent television rock star of celebrity chefs, Bourdain captured the seductive rock \u2018n\u2019 roll of life in the kitchen; he was a hipster in chef\u2019s whites who could see through everyone in the room. In \u201cTony,\u201d he\u2019s a lot more innocent, but the story is built around a terrifically layered irony. The movie is all about how Tony knows, in his bones, that he wants to be a writer, but discovers that he was meant to be a chef. And yet\u2026he really was<\/em> meant to be a writer. He falls in love with restaurant work, but what he\u2019s falling for isn\u2019t just the food \u2014 it\u2019s the drama.<\/p>\n

\n\tTo me, one of the most pleasurable things in movies is that moment when you see an actor become a movie star. That\u2019s what happens to Dominic Sessa in \u201cTony.\u201d I don\u2019t care if the film is a summer indie smash or not (though it deserves to be) \u2014 it shows you that Sessa has the goods, in the way his breakout performance in the likable but overly soft faux-\u201970s movie \u201cThe Holdovers\u201d did not. What a movie star needs (among other qualities) is anger, and Sessa plays Tony as an eager, voluble, simmering bad boy who is playing out his inner turmoil in the real world. His Tony, tall under a curly \u201970s moptop and sideburns, has the look of a hungry dog. At his family\u2019s home, when he\u2019s waiting to hear whether he\u2019s been chosen for the writing fellowship, we see the dynamic that has made him the outspoken yet emotionally bottled-up soul he is. His mother, Gladys (Dagmara Domi\u0144czyk), is brilliant and exacting, but she\u2019s also the chief critic of everyone around her. She has given Tony his voice of judgment, which he turns on the world but also, compulsively, on himself.<\/p>\n

Read more EFD Studios Names Jos\u00e9 Miguel \u00c1lvarez Ibarg\u00fcengoitia CEO, EFD Studios Mexico (EXCLUSIVE)<\/a><\/p>\n

\n\tSessa gives Tony the charisma of anger, and he also shows us the youthful confusion that sent him spiraling to Provincetown. Back at Vassar, at a bar, he hits on Nancy, played by Emilia Jones with a toughness as radiant as it is savvy. He\u2019s already half in love with her, and his mixture of awkwardness and aggression has an effect on the audience, as it does on her. In a way it\u2019s cringe, yet you can\u2019t take your eyes off him. Tony is a mess, but he\u2019s sly, with the magnetism of someone who can talk his way past shame.<\/p>\n

\n\tWhen he doesn\u2019t get the fellowship, it leaves him in a rage of discontent. He\u2019s an entitled son-of-a-bitch, but his egomania is part of what\u2019s going to take him far. That, and his ability to make stuff up. He\u2019s a compulsive liar, and he decides, on a WTF whim, to head to Provincetown, where Nancy is spending the summer, and to basically spend his time there stalking her. He tells everyone there that he\u2019s got the writing fellowship, which for Tony is a class-snob thing; it makes him feel worthy. But he has no fellowship, and no money. The first night, seated at a bar, he spends the last of his cash on a tray of raw oysters and half a dozen beers (he tries to woo the bartender by explaining how eating an oyster as a kid in France changed his life \u2014 a formative Bourdain anecdote), and he makes a drunken spectacle of himself. He gets thrown out on his ass by the owner.<\/p>\n

\n\tBut the next day he swings by to apologize, and the owner, who is known only as Chef (Antonio Banderas), takes pity on him and gives him a job washing dishes, as well as a place to crash (the hammock on his back porch, where he awakens Tony each morning by dousing him in a bucket of seawater). Provincetown was a less chic place then than it is now, and Tony doesn\u2019t see working in the cramped, messy kitchen of a bare-bones seafood restaurant called the Flagship \u2014 they have four things on the menu, notably lobster rolls \u2014 as a ticket to anything. He thinks what he\u2019s doing is lowly. The film introduces us to the screw-loose types who work there, although they\u2019re never portrayed as cartoons: the blitzed slob Stavros (Stavros Halkias) and Sal (Leo Woodall), a ladies\u2019 man so aggro he\u2019s a complete sociopath (he carves a shard of wood out of the wall as a trophy each time he scores, which is often \u2014 it\u2019s the hook-up \u201970s). The movie follows them to late-night house parties, but the real action is in the kitchen, where they fight their hangovers with morning lines of coke, and where Johnson stages the combustible goings-on with an existential, at times violent spontaneity that takes these scenes to a level of unwashed kitchen-sink reality that I\u2019ve never felt \u201cThe Bear\u201d quite got to.<\/p>\n

\n\tThe beauty of \u201cTony\u201d is that it doesn\u2019t make anything feel predetermined. It\u2019s the story of an old-school American summer \u2014 those months when a college kid like Tony, doing a job because he needs a job, has the drifting freedom to fall into random experiences, because that\u2019s the enchantment of being in a Cape Cod beach town in 1975. Tony ambles around, gets into fights, does hard drugs, fruitlessly pursues Nancy (who has a boyfriend in the pizza shop she works at), sinks into the scuzzpit of washing dishes, then graduates to food prep, all under the tutelage of Chef, the foodie task-master.<\/p>\n

\n\tThrough it all, Tony doesn\u2019t realize that this is his real school; that\u2019s the way the summer that changes your life works. \u201cTony\u201d has an enchanted spirit of discovery that reminded me of \u201cAdventureland,\u201d Greg Mottola\u2019s winsome gem about working at an amusement park in the summer of \u201987. Like that film, it\u2019s a nostalgic dream that\u2019s alive to the moment. More than that, though, \u201cTony\u201d has the organic flow and humanity, and the craft so light it\u2019s invisible, of a Richard Linklater film. It might be the best Linklater movie Linklater never made.\u00a0\u00a0<\/p>\n

\n\tIt\u2019s Chef who presides over the controlled chaos, and Antonio Banderas invests him with a delectable blend of gentleness and cutthroat authority, as well as an undercurrent of mystery. Who is this man who shucks oysters as if preparing the Eucharist? Banderas gives a fantastic performance, showing us how Chef becomes Tony\u2019s mentor by being everything he\u2019s not: calm, contained, devoted to the task at hand, attuned to something higher. At Tony learns on one privileged day in the otherwise empty restaurant, the man even makes his own ketchup! Yet Tony awakens something in Chef too \u2014 an ambition he left behind. The movie shows you that there\u2019s a Zen to the kitchen, and that all of life can grow out of that. As Tony\u2019s troubled soul comes to the fore, acted out in ways both big and small, what\u2019s revealed is that though he wants to be a writer, he believes in nothing. \u201cTony\u201d is about how he finds himself by crawling out of himself. The kitchen wounds him, heals him, and becomes his crucible of faith.<\/p>\n

Read more Starz and Crunchyroll Team for Discounted Bundle on Amazon\u2019s Prime Video<\/a><\/p>\n<\/div>\n<\/div>\n

\n

\n

\t\t\u2018Tony\u2019 Review: Dominic Sessa Gives His First Movie-Star Performance in Matt Johnson\u2019s Tasty Biopic About the Young Anthony Bourdain<\/p>\n<\/h2>\n

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\t\tReviewed at Dolby 88, New York, July 15, 2026. MPA rating: R. Running time: 106 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \nAn A24 release of a Star Thrower, Zapruder Films production. Producers: Tim White, Trevor White, Matthew Miller, Matt Johnson. Executive producers: Kimberly Witherspoon, Todd Bartels. Lou Howe, Emily Rose, Chris Stinson, Amy Greene.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector: Matt Johnson. Screenplay: Todd Bartels, Lou Howe, Matthew Miller, Matt Johnson. Camera: Michael Bauman. Editors: Curt Lobb, Robert Upchurch. Music: Jay McCarrol.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nDominic Sessa, Antonio Banderas, Emilia Jones, Leo Woodall, Stavros Halkias, Michael Jibrin, Monica Raymund, Rich Sommer, Dagmara Dominczyk, Liam Fitch, Caroline Portu, Joe Burns, Allyn Burrows. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Tracing the summer the 19-year-old Anthony Bourdain spent working in a kitchen in Provincetown, the movie has an enchanted spirit of discovery.<\/p>\n","protected":false},"author":1,"featured_media":5133,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[4078,4079,4080,4081],"class_list":["post-5134","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-anthony-banderas","tag-anthony-bordain","tag-dominic-sessa","tag-tony"],"yoast_head":"\n\u2018Tony\u2019 Review: Dominic Sessa Gives His First Movie-Star Performance in Matt Johnson\u2019s Tasty Biopic About the Young Anthony Bourdain - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=5134\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Tony\u2019 Review: Dominic Sessa Gives His First Movie-Star Performance in Matt Johnson\u2019s Tasty Biopic About the Young Anthony Bourdain - 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