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Back to School

Monsters University makes the grade for Pixar

Alex Bentley
Jun 20, 2013 | 6:00 am
Monsters University makes the grade for Pixar
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Success can be a movie studio’s own worst enemy. The quality of the majority of Pixar’s films have been such that any deviation from that norm is considered to be disappointing, even if the substandard film outshines most other animated offerings.

After delivering a great finale to the Toy Story trilogy, Pixar is in a bit of slump after the horrendous Cars 2 and the so-so Brave. To try to break out, Pixar is going back to the well of familiar characters with Monsters University, marking the first prequel in its history.

Aside from maybe The Incredibles, it’s hard to think of another Pixar film that better deserved the prequel treatment than Monsters, Inc. The opportunity to see how Mike (Billy Crystal) and Sully (John Goodman) met and acted in college is darn near irresistible.

Monsters University doesn’t reach the heights of Pixar’s classics, but it’s a vast improvement over its previous two offerings.

The set-up is great too. Mike dreams his entire life — footage of him as a kid is priceless — of going to Monsters University and becoming a full-fledged scarer. Once he gets there, though, he finds out that desire and ability may not exactly be the same thing, especially when there are truly scary monsters like Sully in his way.

The filmmakers do a lot of things right, including playing just enough on character nostalgia so as to make things familiar, but not so much that they’re just repeating themselves. There are also a number of clever twists on the college experience from the monster perspective, including dorm life, fraternities and sports.

On the down side, though, the main thrust of the film is a timeworn plot that’s all the less fresh for how much it’s been used lately. Mike and Sully are forced to team up with a fraternity filled with outcasts and misfits in order to prove their worth. Each of the members has their individual charms, but that doesn’t hide the rote nature of their presence.

Still, there’s just something special about being back in the world of scaring, and seeing how the combative nature of Mike and Sully’s friendship evolves never fails to entertain. That’s mostly thanks to the voice talents of Crystal and Goodman, who both know their way around a good joke.

New additions such as Helen Mirren as Dean Hardscrabble, Sean Hayes and Dave Foley as twins sharing the same body, and Nathan Fillion as the head of a rival fraternity keep the movie popping. And callbacks to characters like Randy (Steve Buscemi), Roz (Bob Peterson) and Henry J. Waternoose are executed flawlessly.

Monsters University doesn’t reach the heights of Pixar’s classics, but it’s a vast improvement over its previous two offerings. And fans of original storytelling will be glad to know that Pixar’s next two films – The Good Dinosaur and Inside Out – are all new.

Mike Wazowski is all smiles when he first gets to Monsters University.

Monsters University
Photo courtesy of Disney Pixar
Mike Wazowski is all smiles when he first gets to Monsters University.
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Movie Review

'Tony' offers a revealing look at Anthony Bourdain before fame

Alex Bentley
Aug 20, 2026 | 10:28 am
Antonio Banderas and Dominic Sessa in Tony
Photo courtesy of A24
Antonio Banderas and Dominic Sessa in Tony.

The reason that most biopics fail is because they try to do too much, telling a “cradle-to-grave” story or one taking place over a long period of time that only scratches the surface of understanding the full measure of a particular person. A better approach is the one taken in the new film Tony, which uses a formative period of time in the life of Anthony Bourdain to identify a larger truth about him.

The film finds Tony (Dominic Sessa), as he liked to be known at the time, in his early college years, trying to BS his way through life. He tells lies to professors, his parents (Dagmara Dominczyk and Rich Sommer), his old classmate Nancy (Emilia Jones), and even himself in an attempt to skate by without actually doing anything.

When one con falls through, he follows Nancy to Provincetown, Massachusetts to try to find her. A series of events result in him getting drunk in a restaurant owned by a chef (Antonio Banderas), who takes him in. Tony starts working as a dishwasher and hanging out with Sal (Leo Woodall), who barely has his own act together. With no other options, he spends his summer on Cape Cod, hoping something will happen to change his lot in life.

Written and directed by Matt Johnson (Blackberry) and co-written by three others, the film gives barely a hint of the man who would go on to become a celebrity chef and acclaimed author. It does indicate that his brashness was always there, but this Tony is aimless and too often rash in his decision-making. His biggest success in the film only comes when he finally recognizes that lying has brought him nothing but misery, and that telling the truth, even if it’s painful, sets him free.

The restaurant at which Tony works, the now-defunct The Flagship, is the heartbeat of the film, containing a motley crew of people who bond over slinging mostly mediocre seafood. Johnson evolves Tony’s relationship with the chef (who’s never given a proper name) into a strong one as Tony spends each night in a hammock on the chef’s porch, only to be woken up each morning with a pot of water thrown in his face.

Tony continues to pursue Nancy for most of the film, and even though their relationship is not fruitful in terms of storytelling, it serves to enforce the mindset of the young man. Nancy only exists as an object of desire for Tony, with just the barest touch of an interior life of her own. While the intent of including a romantic interest for Tony makes sense in a way, it ultimately is the weakest part of the film.

Sessa, who made a bold film debut in 2023’s The Holdovers, has turned into one of the industry’s bright young stars. He embodies the moodiness of Bourdain, stalking around the town with a scowl and lanky walk that tells the audience everything they need to know about the character. Banderas and Woodall (Tuner) bring different types of great energy, and while Jones’ part is not great, she proves that - following CODA - she’s going to be around for a long time, as well.

Fans of Bourdain may lament that Tony doesn’t show anything from the years in which he became famous, but the small and personal film makes a great case that the period it depicts is equally significant to his life. It demonstrates that Tony’s summer on Cape Cod gave him some direction, a reason for being that allowed him to become who he eventually became.

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Tony opens in theaters on August 21.

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