A vacationing woman meets her ideal man, leading to a swift marriage. Back at home, however, their idyllic life is upset when they discover their neighbors could be assassins who have been contracted to kill the couple.
A bounty hunter learns that his next target is his ex-wife, a reporter working on a murder cover-up. Soon after their reunion, the always-at-odds duo find themselves on a run-for-their-lives adventure.
A romantically challenged morning show producer is reluctantly embroiled in a series of outrageous tests by her chauvinistic correspondent to prove his theories on relationships and help ... See full summary »
After losing her job, Jersey girl Stephanie Plum is broke. Needing a job she is told that her cousin, a bail bondsman, needs someone to help out in the office. But the only job openings he has are for skip tracers. She learns that Joe Morelli, a guy she knew intimately years ago, is one of the "skips". She eventually finds him but wasn't really prepared so he gets away. Another bounty hunter, Ranger, tries to teach her. Eventually she finds Morelli again, but he claims he is innocent of the crime he is accused of and he is trying to prove his innocence. Eventually Stephanie thinks he's telling the truth so she stakes out the person who can help him. She only finds herself in trouble and Morelli saves her. She tries to find someone who can prove his innocence, but the problem is that shortly after meeting with them they're killed or attacked. Written by
In the novel, Big Blue is a powder blue 1953 Buick Roadmaster. In the film, it is a much darker blue 1976 Buick Electra. See more »
In the first lock picking scene ranger is picking a door knob. The tension wrench used is being held with a full grip and rotated CCW. The CCW may be correct but, tension wrenches are turned with a light pressure of the thumb to receive "feedback" from the pins. Gripping a tension wrench like this would make it almost impossible to pick a lock. See more »
Ranger Manoso. He looks like Michelangelo dipped the statue of David in caramel and strapped some heat on him.
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One for the Money reviewed 9 out of 10 bags of popcorn.
Having read all eighteen of the Stephanie Plum books, a few of them more than once, it is safe to say that I am a big fan of the series, even though SP16 was a little disappointing and SP17 was a huge letdown. In any case, I went to the multiplex with a clear vision in my mind of how the characters should look, act and interact. This is the first movie that I've actually gone to a theater to see in at least two years. Sadly, the director seems to belong to what I call the 'mumble school of filmmaking', and the dialogue was very hard to follow at times. And no, that's not just my aged ears reacting because the forty-three-year-old I saw it with had a hard time hearing it as well. Best of all, we are in Orlando at the moment, with some dead time on our hands, and went to an early bird special for $5 per head. These days that's a bargain.
The movie worked. The chemistry between Plum and Morelli was obvious on screen. Morelli had a nice lithe but tightly muscular body with a well-proportioned butt. Too bad about those disgusting tattoos, but that too, was probably in character. Lula the street 'ho' was perfectly cast, as were Stephanie's cousin Vinnie and the girl in the bail bond office who Janet Evanovich describes as carrying most of her weight in her chest. Stephanie's parents were well done, and Debbie Reynolds was a pleasant surprise as Grandma Mazur. I'd always pictured Grandma as sort of wizened and shriveled (sort of like the Nanny's grandmother), and Reynolds at a couple of months shy of eighty didn't quite fit my preconceived image. That being said Reynolds has a flair for comedy, and it worked. The only disappointment was the casting of Ranger, hence the one bag deduction. Ranger was believable, but a little too personable, and maybe even a tad too verbose. Ranger in the books didn't talk a lot, and could put a whole sentence into one word when he looked at Stephanie and said, "Babe." The characters sounded like New Jersey residents and the row houses they lived in looked authentic.
Oh, and the 1953 Buick that Stephanie frequently borrows from the family is now a huge Buick from the 70s or 80s, but that worked quite nicely.
My partner and I are both looking forward to the next Stephanie Plum movie, assuming this one does well enough at the box office to justify the production.
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