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Losing Isaiah

Losing Isaiah

Drama · 1995

Khaila Richards, a crack-addicted single mother, accidentally leaves her baby in a dumpster while high and returns the next day in a panic to find he is missing. In reality, the baby has been adopted by a warm-hearted social worker, Margaret Lewin, and her husband, Charles. Years later, Khaila has gone through rehab and holds a steady job. After learning that her child is still alive, she challenges Margaret for the custody.

Movie details

Losing Isaiah

“Who decides what makes a mother?”

1995 Drama 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Khaila Richards, a crack-addicted single mother, accidentally leaves her baby in a dumpster while high and returns the next day in a panic to find he is missing. In reality, the baby has been adopted by a warm-hearted social worker, Margaret Lewin, and her husband, Charles. Years later, Khaila has gone through rehab and holds a steady job. After learning that her child is still alive, she challenges Margaret for the custody.

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 Losing Isaiah?

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

Stephen Gyllenhaal

Written by

Naomi Foner

Jessica Lange

Jessica Lange

Margaret Lewin

Halle Berry

Halle Berry

Khaila Richards

David Strathairn

David Strathairn

Charles Lewin

Cuba Gooding Jr.

Cuba Gooding Jr.

Eddie Hughes

Daisy Eagan

Daisy Eagan

Hannah Lewin

Marc John Jefferies

Marc John Jefferies

Isaiah

Samuel L. Jackson

Samuel L. Jackson

Kadar Lewis

Court is in session

Put Losing Isaiah on trial.

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

The defence The Prestige Tourist

“Sincerity is not manipulation.”

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

The prosecution The Popcorn Loyalist

“The strings are showing.”

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