Last Updated on August 23, 2026
Reflecting on ‘Tony’: A Fresh Take on the Anthony Bourdain Biopic
My son and I (along with myself, I have to admit) are big fans of director Matt Johnson. We were determined to see his new biopic, ‘Tony’, regardless of the buzz. We were just grateful it played locally at the Cineworld in Ipswich, as despite being an A24 production, it has not had a massive release here in the UK.
Explaining Anthony Bourdain to a UK Audience
That limited release makes some sense. The subject, Anthony Bourdain, is far from a household name in the UK. My wife had never heard of him. When I tried to explain his status over here, the closest equivalents I could muster were Jamie Oliver or Rick Stein.
Defying Bad Reviews and the Biopic Formula
Before heading to the cinema, I made the mistake of reading a scathing review in ‘Esquire’. It poisoned my expectations, and I wish I had avoided it. I hold a firm belief that true biopics are inherently impossible: one person’s lived experience is always subjectively different from how others remember it – or even how the person themselves recalls it years later. Interestingly, ‘Tony’ draws from Bourdain’s own autobiography. While memoirs tend to be a bit fanciful, the film itself is quite spectacular.
Director Matt Johnson’s Leap from Indie Cinema to Hollywood
Matt Johnson has built a reputation on a distinct fly-on-the-wall or found-footage style. ‘Tony’ marks his second main theatrical release following ‘BlackBerry’. That earlier project was a clear stepping stone into Hollywood after years of carving his own independent path.
Filmmakers face a dilemma similar to musicians. Signing a major-label deal early on can strip away your distinct personality. If you spend years on independent labels first, you arrive fully formed. ‘BlackBerry’ was noticeably more polished than Johnson’s earlier work, though I still love the raw charm of his indie roots. ‘Tony’ is another leap forward. It appears to be his first feature where he does not appear on screen at all, yet his signature remains clear – right down to the subtle background bird calls he slips into every project.
The Craft: 1970s Aesthetic and Standout Performances
As a fan of filmmaking craft, I was struck by the colour grading. Whether shot on film or digitally processed, it carries a beautiful, authentic 1970s graininess in the darker scenes that feels like true time travel.
Dominic Sessa and Antonio Banderas Deliver Subtle, Powerful Roles
The story follows a young Bourdain acting, frankly, like a bit of a pillock. He admits as much himself: the film opens with his own quote describing his youth as arrogant and in need of a good kicking (which, spoiler alert, he gets).
Given Bourdain’s tragic end, I felt a degree of trepidation going in. However, for anyone worried about mental health triggers, the film stays grounded as a safe space.
Lead actor Dominic Sessa plays the moody, arrogant teenager brilliantly. His physical acting – right down to his sulky posture – does far more work than the sparse dialogue. I appreciate films that let silence push the story forward, and ‘Tony’ does this masterfully. Antonio Banderas also turns in a wonderful performance, anchoring a cast that makes you forget you are watching actors at work.
Why ‘Tony’ is a Profound Work of Cinematic Art
The teenage angst dissipates over time, but never through a polished or Disney-fied transformation. Instead, it offers an honest depiction of a young man learning not to be a selfish, lying asshole.
Ultimately, ‘Tony’ works as a piecemeal journey. There is no single magic moment that transforms the miserable teenager into the beloved chef and author. Even by the end, he has not fully changed, but you see the seeds of his future self being sown. The film balances moodiness with genuinely funny beats and poignant moments that never feel forced. In one key scene, Anthony watches a friend make a decision; without a word, you see him emotionally distance himself from a negative influence.
My immediate reaction upon leaving the cinema was that the film was profoundly brilliant. A few days later, that view remains unchanged, though I now appreciate its deeper layers. I have just booked a second ticket. Free from my initial apprehension, I look forward to soaking in what is a remarkable work of art – one that neatly avoids the usual hagiographic tropes of cinematic biopics.
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