‘Tony,’ is a fresh delicacy filled with struggles that Gen Z can relate to.
Confidence is important, but it can also get you into trouble. It can reaaally get you in trouble when it stems from self-belief rather than results, or legitimate evidence that tells you: yeah, I am that good. Problem is, you need the confidence to get the evidence. Tony is about this conundrum. It’s also a wonderful and fascinating journey into the mind of a young Anthony Bourdain, before his resume matched his charming, larger-than-life persona. Dominic Sessa plays Bourdain in a breakout performance that combines raw rage with swaggering (yet bumbling) screen presence. As his mentor, a stoic Massachusetts chef, Antonio Banderas delivers a performance so phenomenal it should be up for best supporting actor consideration.
Shane Johnson directs, and his style is palpable, as it often is. It’s oozing, gushing out of each song choice and character moment. This movie’s got edge and heart alike, which feels very Bourdain (haven’t read or watched literally anything he’s done, but from the TikTok clips I’ll just roll with this). The movie begins as Tony is interviewing for a scholarship, one with the kind of prestige and “Look-at-me” quality that might, in his mind, get him laid. When he misses his mark and is left with no other moves, he flippantly follows the girl of his dreams to a Seafood town where he knows no one. There, he drunkenly fails his way into a job in a kitchen and attempts to earn his keep.
Emilia Jones, Leo Woodall, and Stavros Halkias round out a cast of well-developed half-friends-half-foils for Sessa’s young Anthony. Jones is the love interest that drives forward the emotional crux to begin with, Woodall, the worst but maybe best (worst, mostly worst) influence, and Halkias, well, is Stavros Halkias as a line cook. Whatever you imagine that dude would act like as a line cook, it’s that. Not complaining, he’s funny and fits the movie well. Jones and Woodall are also doing really solid acting in parts they seem very well suited for. Johnson finds subtle ways to invite the viewer into the worlds of these side characters without sacrificing any of Tony’s journey. A little background line there, a telling wide shot here, and it’s just smooth. You feel so connected to this league of oddballs and misfits, although Sessa still dominates most of the camera’s focus.
I think this movie worked for me because it’s talking to me. I’m the Tony. Or, I want to, wish to, one day become, but already sort of act as if I am, the Tony. The movie is a great coming-of-age tale for any (somewhat mature) viewer, but it feels so fucking close to home to me. The movie understands the universal plight of the young American across generations, but hones in specifically on a couple of issues that are especially prevalent in 2026. It sympathizes with the young viewer, who (like me) probably relates to the idea that you haven’t done shit, but you could, and you should, and maybe with some luck and some help you will. I believe that the messaging is intentional, and a key reason Johnson made the film. Ultimately, Tony wishes you happy trails in your blossoming endeavors, but warns that you just might have to face some cold water first.
8.8/10
