Review: Tony

Score: A-

Director: Matt Johnson

Cast: Dominic Sessa, Antonio Banderas, Emilia Jones, Leo Woodall

Running Time: 106 Minutes

Rated: R

Long before he inspired millions with his love of food and the people who made it, Anthony Bourdain was just a punk kid named Tony. That's not only the perspective of the movie Tony, but also of Bourdain himself. In his memoir Kitchen Confidential, which the film takes stories from, he describes his youthful self as "spoiled, miserable, narcissistic, self-destructive and thoughtless." The Tony we meet at the beginning of the film is all of these things and more. At times, he's flat-out unlikable.

After losing out on a writing fellowship, he arrives in Provincetown, Massachusetts, in pursuit of romance (or at least a hook-up) with his high school crush Nancy (a luminous Emilia Jones). When she blows him off, he drowns his sorrows at the Flagship, a local seafood joint. But after getting the bum's rush, he finds himself hungover and penniless, unable to even return home with his tail between his legs. Since the Flagship's kitchen is a place for strays, Tony soon finds himself "adopted" by the chef (Antonio Banderas) and getting a crash course in cooking and life. Despite being in a quieter register, this might just be Banderas's best performance outside of his collaborations with Pedro Almodóvar.

Director Matt Johnson has succeeded at finding touching and hilarious moments in his past work, including this year's side-splitting Nirvanna the Band the Show the Movie. But this is his first project with a real budget, and he rises to the occasion, refining his style without losing any of skills or sanding down any rough edges.

Like BlackBerry, the structure of Tony is immediately familiar. But it's how Johnson injects the film with humor and pathos, and gets great performances out of his actors, that elevate it into something special. All the scenes in the kitchen, with copious drug use, yelling and ball-busting are electric, even when Tony's inexperience leads to disaster.

If you're a fan of other period coming-of-age movies with killer soundtracks like The Wackness or Adventureland, Tony is going to be a tasty dish. The film is heavily fictionalized, so there aren't a lot of revelations about Anthony Bourdain as a person. But his journey from cocky kid to passionate writer is still remarkable.

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About Kip Mooney

Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.