Critical Reception
Zero Patience garnered mixed critical reaction. The mainstream Austin Chronicle cited a "murky plot, frequently weak acting and often mediocre music" while still praising the film's "spunk, humor, enthusiasm and wit." The Washington Post compared Zero Patience unfavorably to Hollywood's big-budget, big-star AIDS-themed film, Philadelphia, claiming that the latter's protagonist, Andrew Beckett, "looked sick, dealt with his illness and allowed the audience to sympathize," unlike the "healthy hoofers" of the musical who, because they didn't look sick enough, " to deny some of the grim realities" of the disease. In a contrary favorable opinion, London's Time Out Film Guide praised the film for "slyly inverting popular wisdom" to "offer a sassy commentary on the epidemic of blame" and calling Zero Patience "a film which engages your mind as much as your heart, and leaves you laughing." Similarly, the New York Times lauded the film's "loopy buoyancy," praising the songs as a "bouncy stylistic hybrid of Gilbert and Sullivan, Ringo Starr, The Kinks and the Pet Shop Boys."
Zero Patience was honored as the Best Canadian Film and Best Ontario Feature at the 1993 Cinéfest and was awarded a Special Jury Citation as Best Canadian Feature Film at the 1993 Festival of Festivals. Director Greyson and composer Glenn Schellenberg were nominated for a 1993 Genie Award for Best Original Song for the film's theme song, "Zero Patience."
Read more about this topic: Zero Patience
Famous quotes containing the words critical and/or reception:
“Good critical writing is measured by the perception and evaluation of the subject; bad critical writing by the necessity of maintaining the professional standing of the critic.”
—Raymond Chandler (1888–1959)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)