MOVIE REVIEW: TONY

 

Nineteen-year-old Anthony Bourdain stumbles into the chaotic world of a restaurant kitchen, setting off a summer that shapes the course of his life.

Director: Matthew Johnson

Cast: Dominic Sessa, Emilia Jones, Dagmara Domińczyk, Rich Sommer, Stavros Halkias, Leo Woodall, Antonio Banderas

Release Date: August 7, 2026

Genre: Biography, Comedy, Drama

Rated R for pervasive language, drug use, and sexual content/nudity.

Runtime: 1h 46m

Review:

Tony doesn’t require you to know much about the man at the center of the film which makes it an impressively accessible coming of age tale that never lionize which makes the character onscreen feel all the more real and human.  Matthew Johnson’s film lives and breathes as a portrait of a young man desperately searching for meaning and direction in his life that gives everything an air of authenticity.  He isn’t afraid to show his main character in an unflattering light for large portions of time as he’s shown to be a self-aggrandizing liar who’s most concerned with people being impressed with him.  He fails regularly and makes some horrible decisions along the way that should feel relatable to large portion of people.  Dominic Sessa captures that energy effortlessly as he gives the audience a sense of the character’s unearned superiority which masks an undercurrent of his failures.  His lanky figure and hunched over posture give the audience a sense of his awkwardness and insecurity along with a general willingness to follow anyone who’s willing to give him the time of day.   He becomes fast friends with Leo Woodall misfit restaurant worker, Sal, who possesses a chaotic charisma that Tony is initially entranced with until things go off the rails with their mentor played by Antonio Banderas.  Banderas has rarely been better as he delivers an award worthy turn as 'Chef' José Vatel who owns the small restaurant Tony ends up working and living with during that formative summer.  Banderas plays the character with impressive nuance and depth as he depicts the character as a tough taskmaster but underneath it there’s an understated soulfulness that enchanting once it reveals itself.  Their stellar work makes the emotional turns hit like a gut punch as this motley crew of a family fractures and nearly falls apart.  The restaurant relationships are so well done that it leaves Emilia Jones’ love interest story line feel more perfunctory than engaging even though his pursuit of her gets the plot rolling.  Those looking for a more expansive exploration of Bourdain will probably be better off sticking with his famous memoir, Kitchen Confidential, since Tony is concerned with a very specific point in time in his life.  That laser focus allows Tony to be a complicated but thoughtful tribute that displays the kind of honest humanism Bourdain would have likely appreciated.  

A-

MOVIE REVIEW: THE RUNNING MAN

 

In the near future, "The Running Man" is the top-rated show on television, a deadly competition where contestants must survive 30 days while being hunted by professional assassins. Desperate for money to save his sick daughter, Ben Richards is convinced by the show's ruthless producer to enter the game as a last resort. Ratings soon skyrocket as Ben's defiance, instincts and grit turn him into an unexpected fan favorite, as well as a threat to the entire system.

Director: Edgar Wright

Cast: Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Colman Domingo, Josh Brolin, Katy M. O'Brian

Release Date: November 14, 2025

Genre: Action, Adventure, Sci-Fi, Thriller

Rated R for strong violence, some gore, and language

Runtime: 2h 13m

Review:

Edgar Wright’s take on The Running Man sticks much closer to the Stephen King novel than the 1987 Schwarzenegger film, but it struggles to find its own identity with it never able to decide if it wants to go full camp like that film or lean into the darker dystopian side of the King novel.  Wright’s energetic style meshes well with the over-the-top action sequences and he’s clearly most comfortable in those moments.  There’s a bit of Paul Verhoeven 80’s style world building, think Robocop, that leans into the satirical side that’s fun but never explored enough to make a meaningful impact.  It’s an unsteady balance of energetic action with occasionally gruesome deaths paired with slower moments dealing with dying kids and ruminations about revolution.  It’s a weird mix that makes for a herky jerky flow to the film especially since the performances across the board are generally over the top.  Glen Powell leads the film capably, but he feels miscast from the start since his character is supposed to be a beaten down, desperate man something his chiseled features and physique don’t really communicate.  It’s not Powell’s fault of course and he delivers a solid, likable performance from start to finish but his character lacks the kind of depth you’d expect.  He’s got some basic character traits, and they don’t really expand beyond being good-hearted with a serious anti-authority streak but there’s little else to him when it’s all said and done even after becoming a sort of folk hero.  Josh Brolin is much better suited for the role of the show's swarmy producer, Dan Killian, and he clearly relishes hamming it up in the role.  Brolin is loads of fun every time he pops up but the film doesn’t take full advantage of his rather inspired turn.  The same can be said for Colman Domingo turn as Bobby T, the host of The Running Man show, who is having a blast playing the charismatic, over the top character.  They both are so over the top and energetic, you’re left wondering why Wright didn’t just go all in and deliver something more outright satirical that likely would have been more meaningful than slavishly serving King’s original story.

C+