However, as principal photography was already completed, it mainly affected tasks such as editing and post-production work that could be done remotely.
For Now and The Georgia Straight, Kevin Ritchie praised the film, writing that its "overlapping realizations create a complex portrait while making No Ordinary Man as much about the present as it is about the past.
[It] ultimately builds to a moving and surprising climax in which the empathetic trans views of Tipton are finally able to eclipse the parochial tabloid tale.
[10] In The New Yorker, Richard Brody writes: "In No Ordinary Man, the directors Aisling Chin-Yee and Chase Joynt go fascinatingly, probingly further, to question the very prospect of making a biographical film about their subject, the trans jazz musician Billy Tipton.
No Ordinary Man, in that sense, is a genre unto itself, a meta-biographical film about a musician who earned his place in history posthumously, for reasons that he carefully avoided revealing throughout his life.