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Chris Osterndorf

Chris Osterndorf

Chris Osterndorf is an entertainment reporter and movie critic based in Los Angeles. He holds a degree in cinema from Chicago’s DePaul University. His work has appeared on the Daily Dot, Mic, the Script Lab, Salon, the Week, xoJane, and more.
‘The ABC Murders’ is entertaining, despite being the weakest recent Agatha Christie adaptation
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John Maklovich plays an aging, broken down Hercule Poirot.
‘Unbreakable Kimmy Schmidt’ ends as it began—courting controversy
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The seriously underrated series enjoys a fitting Netflix sendoff.
Season 3 of ‘Crashing’ is its best and most daring yet
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Pete Holmes tackles love, God, and the Me Too movement’s impact on standup.
‘Friends from College’ is still annoying, still watchable in season 2
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Great talent gets wasted on subpar material.
‘Future Man’ season 2 changes things up without losing any of the references
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Less 'Back to the Future,' more 'Mad Max.'
‘Black Mirror: Bandersnatch’ may be the future of entertainment, a clever gimmick, or both
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It'll make you feel like you're in an episode of 'Black Mirror' yourself.
Amazon’s ‘Vanity Fair’ is worth visiting before the year is over
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If only for its wonderfully despicable protagonist, Becky Sharp.
Netflix’s latest foreign acquisition, ‘Happy as Lazzaro,’ is a troubling Christ figure story
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The film's commentary on capitalism is flawed at best.
‘Sabrina’ doesn’t even work as an entry in the possessed doll genre
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It's an extra cheesy, extra clunky B-movie.
‘Homecoming’ is another paranoid thriller from the creator of ‘Mr. Robot’
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Julia Roberts and Stephan James shine in this slick, albeit emotionally sterile, series.
The end of ‘House of Cards’ feels as fitting as it does oddly inevitable
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The show's final season asks whether feminism in conjunction with acts of evil is still feminism.
In ‘100% Fresh,’ Adam Sandler returns to his old, funny self
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Sandler's new Netflix special pays a heartwarming tribute to the late, great Chris Farley.
In Matthew Weiner’s new miniseries, ‘The Romanoffs,’ privilege is inescapable
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It's no 'Mad Men.'
Hulu’s ‘Light as a Feather’ delivers on its title in every respect
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It's a decent blend of silly and spooky.
‘Big Mouth’ is the best-kept secret on Netflix
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Season 2 is must-watch adult animation full of sex-positive education.
Maya Rudolph, Fred Armisen shine in mystery dramedy ‘Forever’
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The Amazon Prime series is 'Master of None' meets 'The Good Place.'
The second season of The Deuce drops us in 1977, picking up a few years after the first one ended, and from the opening credits (formerly soundtracked by Curtis Mayfield’s "If There's a Hell Below We're All Going to Go," now replaced by Elvis Costello’s “This Year’s Girl”), it’s clear a lot has changed since then. New York, Times Square, and 42nd Street, aka “The Deuce” are still as seedy as ever, but now that seediness has become a full-blown artform. In addition to street prostitution, massage parlors, and peep shows, the production of pornogrophy has expanded, both in New York and out west, where the L.A.-based adult film industry has exploded. The increased demand for porn has given Candy (Maggie Gyllenhaal) more chances to make a name for herself behind the camera as a director and producer, though she still performs from time to time, too. Meanwhile, the Martino brothers (both played by Franco) have grown their mobbed-backed mini-empire, opening more parlors and bars as Vincent continues to chase down Frankie amidst his constant gambling and shady business decisions.
Maggie Gyllenhaal becomes the glue that holds ‘The Deuce’ together
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James Franco's presence is distracting, but David Simon's porn drama smartly shifts focus.
‘Ozark’ season 2 is merely good—and that’s the problem
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Jason Bateman's 'difficult man' schtick is still fun, if unoriginal.
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