Matt Johnson has had a busy time of it recently. The hilarious ‘Nirvanna The Band The Show The Movie’ was released to great fanfare and critical acclaim. It was a film he created, wrote, directed and appeared in. A mere six months later he is back, this time with ‘Tony’, a biopic about celebrity chef Anthony Bourdain. And it is glorious.

‘Tony’ is based on Bourdain’s 2000 memoir Kitchen Confidential, which covers his early life in the 1970s. It shows his journey as a young and directionless teenager as he seemingly accidentally becomes a chef in Provincetown, Massachusetts.

The book was a key reason he transitioned from simply a well-renowned chef to a household name in the USA. A previous attempt to adapt the memoir was cancelled prior to completion of the first season, despite a rising Bradley Cooper appearing in the title role.

So how does this version fair? The first thing to say is that I’ve never read the book and my knowledge of his career was very limited, so I was judging it on whether it worked as a film rather than a faithful adaptation of the book or Bourdain as a person. Dominic Sessa, who gained critical acclaim in The Holdovers, delivers a fantastic turn in the lead role. He strikes a balance perfectly between being undeniably irritating and so likeable that you just want everything to work out for him. Emilia Jones plays opposite him as his love interest Nancy (who Bourdain would later marry in real life). Her character is afforded a maturity and experience opposite the titular role that allows her to play around with her suspicion that he’s one of life’s biggest truth fabricators.

Antonio Banderas is equally warm and vulnerable in the role as the nameless chef who takes Anthony under his wing and provides him with both a job and a place to live. His character is beautifully written and unfolds throughout the film as we learn more about him as a person and his past.

The costume design and music choices are really on point, and add to the authenticity of the film. Equally important is the role of Jay McCarroll’s score, which perhaps plays a supporting role to the more prominent needle drops, including a sumptuous placement of Old Cape Cod by Patti Page, juxtaposing the likes of The Stooges and War that are found elsewhere during the film.

I don’t think it makes me want to find out more about Anthony Bourdain’s life, or read his books. It portrays him as more of a rock star than a passionate chef, which seems to go with his legacy. Regardless, the overall result is pacey, emotional and stylish – American cinema at its best.

It is likely to be one of my top films of the year.