Craig Bierko

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An Evening with UnREAL at Paley

Craig Bierko - An Evening with UnREAL at Paley at Paley Center for Media - Beverly Hills, California, United States - Friday 31st July 2015

Picture - Craig Bierko, Estelle Parsons, Gia... , Tuesday 18th September 2012

Craig Bierko, Estelle Parsons, Gia Crovatin and Larry Pine - Craig Bierko, Estelle Parsons, Gia Crovatin and Larry Pine Tuesday 18th September 2012 Meet and greet with the cast of 'AdA' at the La MaMa rehearsal studios

Picture - Estelle Parsons and Craig Bierko , Tuesday 18th September 2012

Estelle Parsons and Craig Bierko - Estelle Parsons and Craig Bierko Tuesday 18th September 2012 Meet and greet with the cast of 'AdA' at the La MaMa rehearsal studios

Estelle Parsons and Craig Bierko

Picture - Craig Bierko , Tuesday 18th September 2012

Craig Bierko Tuesday 18th September 2012 Meet and greet with the cast of 'AdA' at the La MaMa rehearsal studios

Craig Bierko
Craig Bierko

The Three Stooges Review

The Farrelly brothers return to the vacuously silly style of Dumb and Dumber for this gently idiotic comedy that recreates the iconic knucklehead trio that epitomised movie slapstick from the 1930s to the 1970s. Intriguingly, the film is warm and wacky, only rarely dips into today's more cynical, referential sense of humour. Clearly, the Farrellys have a real affection for the Three Stooges, as do the actors who recreate them.

The story starts as we watch Larry, Moe and Curly (Hayes, Diamantopoulos and Sasso) growing up in an orphanage, watched over by Mother Superior (Lynch) and several rather frazzled nuns (including Oscar-winner Jennifer Hudson and Curb Your Enthusiasm's Larry David). But when the orphanage is threatened with closure, the clueless trio heads out to raise the cash needed to save it. They immediately run into the shamelessly wealthy Lydia (Vergara), who hires them to bump off her husband so she can run off with his business partner (Bierko). But of course everything goes crazily wrong.

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The Three Stooges Trailer

The Three Stooges is a comic caper, following the lives of three men who were left on the doorstep of an orphanage when they were babies. This updated version of the 1930s vaudeville act of the same name sees the familiar characters of Larry, Moe and Curly try to save their childhood orphanage from closure. In the process, they become embroiled in a bizarre murder plot, as well as finding themselves somehow starring in a phenomenally successful reality TV show.

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Picture - Craig Bierko, Richard Thomas, Beth... New York City, USA, Sunday 13th November 2011

Craig Bierko, Harriet Harris, Mark Consuelos, Polly Draper and Richard Thomas - Craig Bierko, Richard Thomas, Beth Leavel, Harriet Harris, Polly Draper and Mark Consuelos New York City, USA - Opening Night after party for the Off-Broadway production of 'Standing on Ceremony: The Gay Marriage Plays ' held at 24 Fifth Avenue party space. Sunday 13th November 2011

The Change-up Review

The director of Wedding Crashers and writers of The Hangover get together for a body-swap comedy that's as vulgar as you'd expect. But it also dips oddly into moralising slush, which kind of undermines any expected laugh fest.

While Dave (Bateman) has become a successful lawyer, complete with gorgeous wife Jamie (Mann) and three kids, his childhood friend Mitch (Reynolds) is living like a slacker with a string of random women. One night they wish they had each other's life and the next morning they wake up in each other's skin.

Of course, after the initial wackiness, Mitch is going to have to learn how to take Dave's responsibilities seriously, while Dave will need to discover how to relax and live a little. But how can they return to their own bodies?

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Danika Review

Danika Merrick (Marisa Tomei) is a young suburban mother with a large family and an over-active imagination. When the brutal armed robbery of the bank in which she works winds up being nothing more than a really vivid hallucination, Danika decides to stay home and spend more time with the family -- much to her teenaged children's consternation. More hallucinations follow -- a missing and murdered girl, a terrorist attack on a school bus, a severed head in the fridge - and with each fresh jolt of psychosis, Danika's world gets smaller and less grounded in reality. She keeps a close eye on her kids and becomes obsessed with their budding sexuality. Danika worries about the faithfulness of her husband and the age of her psychiatrist. Pills follow. Nerves jangle. While everyone around her -- including the cops -- is convinced Danika's off her rocker, some of the hallucinations start coming true. Perhaps these aren't mere illusions but premonitions?

Danika is something of a puzzle film. Nearly every sequence contains some hint at the outcome. Some whisper towards the future. At times the approach is engaging, others just irritating. Scripter Joshua Leibner hopes to generate confusion and at the same time lend an almost reverential power to the onscreen happenings. It's like asking, "where is the line between psychosis and divination?" Thankfully the film moves towards a more satisfying conclusion than freshman year philosophy banter. Well, somewhat more satisfying: Every telegraphed shock and twist in Danika has been done before. It doesn't feel old, necessarily, just too familiar. Too comfortable.

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Scary Movie 4 Review

Scary Movie 4 is inane, gross, ridiculous, and pretty stupid. It also made me laugh more than once. That's evidently becoming the theme of slapstick spoof shtick (or at least the endless stream of Scary Movies), that they head straight for the lowest common denominator but amid all of the diarrhea jokes and people getting beaned in the face with flying objects, they hit upon something genuinely witty, almost by accident.

The dumb jokes are, of course, framed in send-ups of other box office hits from the last couple of years - Anna Faris's spectacularly inept and oblivious Cindy Campbell, who appeared in all the previous films, moves into the house from The Grudge, next door to Tom Cruise's - oh, sorry, Tom Ryan's - house from War of the Worlds. The plot, such as it is, somewhat follows the Worlds story, but is really a cobbled-together excuse to veer from spoof to spoof like a sketch comedy, and the dialogue, such as it is, is almost entirely forgettable. Actually, it's largely a time killer, something for the actors to do while carefully oblivious to the antics around them and not really meant to be heard over the guffaws of the audience.

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Sour Grapes Review

Maligned and underrated, Sour Grapes is the feature debut of Larry David, one of the masterminds of Seinfeld. You definitely get that Seinfeld vibe here, but sadly, Weber and Bierko are no Seinfeld and Richards. A decent laugh.

The Thirteenth Floor Review

I want to start by mentioning that I actually work on the 13th floor of a real live building in downtown San Francisco. My business card actually reads "13th Floor". Reading my business card is more interesting than this film.

Interesting premise: Computer geniuses build a virtual reality machine that lets them go back in time to 1937 Los Angeles. Only the virtual people have feelings and emotions just like us; they don't know they're not real. But then they find out.

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Fear And Loathing In Las Vegas Review

You might be tempted to dismiss Fear and Loathing in Las Vegas as a curiosity, an attempt to exploit the pockets of fame enjoyed by Hunter S. Thompson and director Terry Gilliam.

When I first saw the film in 1998, that's what I did.

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I'm with Lucy Review

Monica Potter gets dumped, then ends up on countless blind dates in the aftermath, which gives us the relationships all sliced up and out of order. Which guy will she end up with? The freaky baseball player or the kooky entemologist? Or someone else? Doubtless you'll care as little as I did, since Potter's character is too vapid to be worth keeping in the first place.

Cinderella Man Review


Capturing the same rousing, Depression-era, hero-of-the-underclasses spirit that "Seabiscuit" did in 2003, "Cinderella Man" may be, in many ways, just another boxing movie (training montage here, point-of-view punches there, Big Fight finale), but it's one with an effectively and unabashedly uplifting emotional core. Directed by Ron Howard with a masterful eye for period authenticity (from the boarded-up brick storefronts to the boxers' softly brawny body types), the film's driving force is the never-give-up performance of Russell Crowe, starring as Jim J. Braddock, a one-time heavyweight contender whose career was derailed by a broken hand in the early 1930s. Left to fend for his wife (Rene Zellweger) and three kids by the luck of the draw as a dockside day laborer in Newark, he often couldn't even keep the lights on in their tenement-basement flat.

But after turning up at the New York Boxing Commission's Madison Square Garden offices, literally hat-in-hand looking for a little spare change, his old manager (Paul Giamatti) gets the washed-up pugilist one fight -- filling in at the last minute for an absent boxer against an unbeatable rising star -- that nobody ever imagined Jim might win.

You can guess the rest, even if you aren't familiar with Braddock's celebrated comeback. Yet "Cinderella Man" is awash in character detail that keeps it feeling fresh until hand-wringing tension takes over for the 15-round championship climax against the menacing title-holder Max Baer (Craig Bierko), a hulking brute of a boxer who had killed two men in the ring.

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Craig Bierko

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