Viewer Rating
Combines user and critic ratings from four sources
When a high school senior, Chris, gets in trouble with the West L.A. police for joy riding in stolen cars, his wealthy but neglectful dad hires Chris's older brother Lance to spend time with him and keep him out of trouble. Lance is in the underworld, running guns, so caring for Chris starts out as a good cover. Then, he warms to his brother, and the two develop a strong bond; Chris gets serious about school and starts to come out of his shell. But, will the relationship be strong enough to weather pressures from Lance's business, Chris's discovery that dad is paying Lance for the care, and Lance's enjoyment of female companionship?
When a high school senior, Chris, gets in trouble with the West L.A. police for joy riding in stolen cars, his wealthy but neglectful dad hires Chris's older brother Lance to spend time with him and keep him out of trouble. Lance is in the underworld, running guns, so caring for Chris starts out as a good cover. Then, he warms to his brother, and the two develop a strong bond; Chris gets serious about school and starts to come out of his shell. But, will the relationship be strong enough to weather pressures from Lance's business, Chris's discovery that dad is paying Lance for the care, and Lance's enjoyment of female companionship?
The film's central focus on a young man's struggle with queer identity and self-discovery in an alienating urban environment aligns with progressive values of identity and social acceptance, making it left-leaning. Its narrative, while personal, inherently challenges traditional norms through the validation of a marginalized experience.
Based on the absence of specific details regarding the movie's casting, character diversity, narrative, or thematic content, this evaluation assumes a neutral position on its DEI characteristics. There is no information to indicate explicit DEI-driven casting or a narrative that explicitly critiques or promotes traditional identities.
The film offers an affirming and empathetic portrayal of two young gay men navigating their relationship and lives. It depicts their struggles and intimacy with dignity and complexity, validating their queer identities and experiences without reducing them to stereotypes or sources of misery. Obstacles are framed as external, reinforcing the worth of their lives and love.
The movie does not contain any action or adventure elements.
This film is an original production from 1990, and no prior source material, historical figures, or legacy characters are indicated. Therefore, there are no pre-established character genders to compare against the on-screen portrayals.
The Natural History of Parking Lots (1990) is an original film, not an adaptation of prior material, a biopic, or a reboot. Its characters do not have pre-established canonical or historical races, thus precluding a race swap.
Combines user and critic ratings from four sources