Niki Caro’s new film “The Zookeeper’s Wife” came out over the weekend. Based on the bestselling book by Diane Ackerman, the film tells the true story of Antonina Zabinska (Jessica Chastain), who sheltered Jewish people in her Warsaw, Poland zoo during World War 2.

This concert—a showing of “Raiders of the Lost Ark” with the St. Louis Symphony playing the score by John Williams live—was an honest to god dream come true.

The 14th annual True/False Film Festival wrapped up this past Sunday in Columbia, Mo. A short two-hour drive from St. Louis, the festival screened upwards of 40 documentaries to an audience of about 15,000.

I saw “Logan” over two weeks ago. At the time, I was tempted to hand in a two-sentence review: “They went there. Period.”

A few months ago, I was asked if “Star Wars” was an American franchise. It was a fascinating question and my reply via text was novel-length.

If there’s one thing Hollywood learned this winter, it’s that diversity sells. It sells well.

A big talking point in film journalism lately is escapism: According to many writers, audiences go to movies to escape their real life, and both box office and awards shows reflect this.

Film scores are the “background” music that plays during action sequences or emotional moments, as well as the more memorable theme music. Every Hollywood movie has a score these days, specifically composed for the film.

The Religious Studies program created the film series this semester as a way to build community, both within the program and beyond. The series also offers students a chance to apply the skills they learn in Religious Studies courses to films in popular culture, whose themes aren’t always obviously religious.

No more than a 20-minute walk north of campus is the Tivoli Theater, our local arthouse cinema. It was here that I found my play, in the Tivoli’s National Theatre Live series.