This contrived, custom-built drama for the caring '90s seeks to manipulate every cliché about the greedy '80s. Henry Turner (Ford) is a rich New York lawyer who has pursued his career at the expense of relationships with his wife (Bening) and young daughter (Allen). He throws tantrums over petty domestic details, bolsters wealthy clients, and kicks the underdog when he's down. Then one night he is shot during a robbery, and the resulting brain damage renders him utterly dependent on the goodwill of others. He learns to read again, re-evaluates relationships, and upon returning to work, realises his old, evil ways. There's no subtlety of characterisation, and despite the severity of Henry's injuries, little to disconcert the viewer. Bening and Ford give the material all they've got, but they're fighting an uphill battle.