As surprising as this may sound, Good Hair, the documentary produced by Chris Rock that hit theaters on Oct. 9, was an enlightening, insightful, wholesome Sundance film detailing black hair care and the $9 billion industry behind it. If you’re expecting this movie to be profuse with the usual sex jokes and the obscenity-filled jests that Rock is fond of, think again. Except for a few one-liners directed at Prince, Rock keeps his humor surprisingly low-key in this film, allowing the story to tell itself.

A documentary revolving around hair care may seem dull and nonessential, but hair has always been a source of some debate in the black community. Some black people — women especially — choose to alter the texture of their hair so that it hangs straight and flows downwards, and while many black women claim that their decision to wear their hair straight is a personal choice, others disagree and claim that they feel compelled to do so by society. Three high school students interviewed in the documentary express their belief that it is difficult to find a job in the business world with an afro, claiming that employers see afros as unprofessional and “out of place.”

Rock’s film sufficiently addresses current hairstyles, but fails to delve into the history behind these decisions. Without this solid sociohistorical foundation, the documentary at times reveals a shaky, superficial basis, instead diverting its time on the Bronner Brothers International Hair Show in Atlanta as the connecting theme throughout the film.

But besides a few missing minor details, what made Good Hair sparkle and shine was its cast of star celebrities, including the likes of Meagan Goode, Nia Long, Raven Symoné and Melyssa Ford. These incredibly talented and beautiful women divulged the secrets of their elaborate coiffures that amazed the audiences. Good Hair raises the bar in its focal theme; it takes beauty to the next level, conveying to the world that everybody should feel beautiful on both the inside and out, as long as you feel good about yourself. He uses his daughters as examples, who tell him that they hate their own hair; throughout the movie he proves to both them and the audience that no matter what, a girl should always feel empowered and beautiful.

The documentary has a social message but, more than that, the film is one of the strongest in a long slew of new modern documentaries. Far from the times of filming forest animals and describing their movements and interactions, Good Hair is in line with documentaries like Fast Food Nation and An Inconvenient Truth, calling on help from celebrities to bring to light today’s issues and debates.

Critics all agree. Rock’s performance in this documentary solidifies his credibility in the entertainment world as he leaves behind his wise-cracking jokes and instead good-naturedly takes something that many people know little about and brings it to the forefront of movies. Rock hoped to make a social commentary that would both inform the public but also keep them entertained throughout the film. Rock does just that in this great documentary.

In spite of its negligence to provide satisfactory information on the evolutionary psychological history of the perception of the types and textures of hair shown in the documentary, Good Hair is a film full of laughs and endearing sincerity that gives an edifying look into the hair — and culture — of black Americans. This movie is a gem.