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Gas Food Lodging

Gas Food Lodging

Drama · Romance · 1992

Nora, a single mother raising two teenage daughters, Shade and Trudi, waits tables at a truck-stop diner in a small New Mexico town. The beautiful and rebellious Trudi drops out of school and gets a job alongside Nora, while the younger Shade whittles away her time at Spanish movie matinees. Their lives are turned upside down when Trudi becomes pregnant and the girls' absent father returns.

Movie details

Gas Food Lodging

“When Shade's good, she's very good. But when Trudi's bad, she's better.”

1992 Drama · Romance 1h 41m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

Nora, a single mother raising two teenage daughters, Shade and Trudi, waits tables at a truck-stop diner in a small New Mexico town. The beautiful and rebellious Trudi drops out of school and gets a job alongside Nora, while the younger Shade whittles away her time at Spanish movie matinees. Their lives are turned upside down when Trudi becomes pregnant and the girls' absent father returns.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Gas Food Lodging?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Allison Anders

Written by

Allison Anders

Brooke Adams

Brooke Adams

Nora

Ione Skye

Ione Skye

Trudi

Fairuza Balk

Fairuza Balk

Shade

James Brolin

James Brolin

John Evans

Robert Knepper

Robert Knepper

Dank

David Lansbury

David Lansbury

Hamlet

Jacob Vargas

Jacob Vargas

Javier

Court is in session

Put Gas Food Lodging on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.