Dr. Martin Luther King Jr. is well known to many history students uttering those beloved words, “I Have A Dream,” which have since been hardwired into our membranes. A man who speaks with ambition and ardor, more than most can handle in this day and age. So it’s only fitting that King’s voice serves as kind of the metal partition, holding everything piece by piece in Selma. A compassionate, rousing and uplifting journey of the civil rights marches that provoked the passing of the 1965 Voting Rights Act. David Oyelowo commands the screen and embodies King with a charge and biblical presence, one which will garner some attention.

At a glance, Selma serves as one man’s account of the events, which would be more than enough. However, director Ava Duvernay makes all the correct decisions, shifting focus briskly between that of King and all the other events unfolding around him. There are many parallels to reality in Selma, especially if you think about the recent outcry in Ferguson, and Oyelowo’s performance at the center is key to the truth about the American public.

Selma opens with a unique desire to show events unfolding. First, we see King tying his tie, sharing a lovely moment with his wife, Coretta Scott King (Carmen Ejogo), and preparing himself for his Nobel Peace Prize. Almost instantly, the focus shifts across the country to capture one of the darkest events to unfold during the Civil Rights Movement. The pressure is on, and King’s pleas to Lyndon B. Johnson (Wilkenson) go unanswered.

This ideally seals the whole tone of the movie. Focusing on the bigger picture, the film is much more about one man, along with the racially charged grievances and tremendous hardships faced during this piece of history. The casting itself is ingenious. Tessa Thompson (Dear White People), Colman Domingo (Lincoln), Wendell Pierce (The Wire), André Holland (The Knick) and rapper-turned-actor Common all are key in focus as King’s cabinet members, and the scenes shared between them make Selma have that sense of community that shines peacefully during the film’s darker and more unbearable moments (there are many).

Racism is hard to eradicate on screen and, in most contexts (if done incorrectly), can seem almost cartoonish. Sometimes less is more, and Duvernay fuels the pit with passion and does a striking showcase of the fundamentals of our nation’s past. All the southern folks are portrayed with such animalistic tendencies, they make Charles Manson look like a saint. A certain urge of hatred took over my instincts, which sometimes took away from the film’s message. The scenes that feature brutality can be a bit much to handle (even by PG-13 standards). But this all adds that extra layer of empathy, and when all is said and done, a feeling of resolution bounds the audience.

Selma is toned so well and paced so adequately, you will find it hard not to be impressed. Whether it’s Oyelowo’s rendition, or the direction that tampers behind violence and gentleness, the film manages to hold together the bounds of stature it needs to and accounts the Civil Rights Movement with honesty and culture. You may find the urge to stand out of your chair and rise to the occasion. Don’t worry; that feeling is 100% natural. Viewing Selma is an astounding and an acute experience that comes at just the right time, when we need it most. Grade: A