Unemployed and newly-divorced Stephanie Plum lands a job at her cousin's bail-bond business, where her first assignment puts her on the trail of a wanted local cop from her romantic past.
Director: Julie Anne Robinson
Writers: Stacy Sherman (screenplay), Karen Ray (screenplay), and 2 more credits »
Stars: Katherine Heigl, Jason O'Mara and Daniel Sunjata
Storyline
Unemployed and newly-divorced Stephanie Plum lands a job at her cousin's bail-bond business, where her first assignment puts her on the trail of a wanted local cop from her romantic past.
Reviews
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.
Enjoy One for the Money
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