We’re all just trying to get home I suppose. Suzanne Dutchman (Demi Moore) seems to be a happily married trophy wife. Her husband Mark (Dylan McDermott) is a wolf of Wall Street. At a dinner party Mark speaks to his client Howard (James McCaffrey) who is then caught by an undercover female agent for using and dealing cocaine and does a deal for immunity in exchange for information on Mark’s insider dealing. Mark is then arrested and Suzanne is facing charges and she is sentenced to 100 hours of community service. She begins reading for visually impaired Bill Oakland (Alec Baldwin) a famous one-hit-wonder author and now a writing professor who is guilt-ridden over his wife’s death in the car crash that blinded him. They take an instant dislike to each other. But she can’t leave and he needs someone to read his student’s work to him. During her time with Bill, Suzanne develops feelings for him and also finds out about her husband’s affair which leans her towards Bill even more… This is carried mostly by star power by three very likeable performes – although McDermott’s violence is foreshadowed in his presentation of a diamond necklace to his wife in the first scene, as though he’s imprisoning her. We understand the title isn’t just about Oakland, it also serves as a metaphor for Suzanne’s entrapment, blind to her husband’s flaws – and they become very problematic indeed. Her massive wedding ring also signifies the situation – writ large in the first scene with Oakland. Her arrival supplants volunteer Gavin (Steven Prescod) who is really a superfan looking to get into Oakland’s writing class – but even when he takes the job of houseboy he takes advantage and makes off with Oakland’s unfinished second novel. This is really a story about writer’s block, and then some. It has some lovely visuals and interactions but lags a bit in pacing. Still, it’s nice to see these actors who don’t get in front of the cameras enough, as far as I’m concerned. Based on a story by Diane Fisher, this was adapted by John Buffalo Mailer (who also acts here) and directed by Michael Mailer, sons of that very pugnacious writer, Norman.