Hynde, though she had the feelings of punk in her bones, was the most romantic songwriter of that entire scene. I don’t mean romantic as in «love songs,» but as in conjuring the majestic romanticism of life. Just listen to «Kid,» a song so happy and sad at the same time that it’s worthy of the Beatles.

The film centers itself on Pete Townshend’s contradictions, his growing pains, his turmoil, and his complexity as a human being and rock artist. And that’s all good. But given where it sets the bar, there’s too much that’s left out.

Sia’s greatest songs, like «Unstoppable» and «Titanium» and «The Greatest,» are anthems of strength, power, fortitude, invincibility, and watching the movie it’s fascinating to behold how her facelessness feeds that quality. She’s an abstract figure, a pair of lips singing, and this creates the sensation that the power she’s singing about doesn’t emanate from her. She’s channeling a force larger than herself — the rising specter of feminine triumph. She’s merely the vessel.

They’ve turned hanging out into a mission, which makes them not so far removed from the heroes of «Wayne’s World.» But the Deadheads also evince an honest yearning for something that’s tribal, primitive, sacred, ancient, shamanic, ecstatic. Watching the documentary, you can’t help but empathize with their desire to find an alternate lifestyle. But it also occurs to you that this wouldn’t be a bad setting for «Midsommar II.»

Asher has a track record of achievement, but he’s also someone who gives off major boomer vibes; he’s got an aura, a mystique, a history of associational cool. «Everywhere Man» is well worth seeing, as long as you go in knowing that it’s a bit too infatuated with its subject, in that rose-colored Boomers «R» Us way.

Questlove tells the band’s story, and Maurice White’s story, in a way that’s at once thrilling and haunting. He captures their rightful place in the pop cosmos.

John, in «The Last Interview,» comes off as just about the happiest he has ever been. But he’s so high on the life he’s leading that he’s also at his most messianic. And a little of that goes a long way.

In his Army jacket and lollipop-blue round sunglasses, with shaggy long sideburns, Lennon gives off a fascinating air of self-involved indifference, which is expressed in the fact that he’s chewing gum for the entire concert. Maybe that was his way of calming his nerves, but the upshot was to give him a disaffected air that’s almost Lou Reed adjacent. He and Yoko and the band perform 15 songs, and in certain ones he’s doggedly sincere, yet he’s also got the Lennon cheek («Welcome to the rehearsal,» he warns the audience at the afternoon show), and also the Lennon detachment, that underlying vibe of «Who gives a fuck, really?»

if you zero in on what’s routine about «Michael» or what the movie leaves out, you may miss the compelling urgency of what it gets in: Michael Jackson’s journey to become himself by freeing himself from the past. I think audiences are going to embrace that journey, and «Michael» itself, in a major way.