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Bob Mann (459 KP) rated Terminator: Dark Fate (2019) in Movies
Nov 10, 2019
Natalie Reyes - a kick-ass non-white female hero (1 more)
Arnie's drapes
Linda Hamilton - acting didn't work for me (1 more)
Confusing storyline (as a continuation of T2)
Enjoyable Hokum
Natalia Reyes plays young Mexican Dani Ramos. Out of the blue she faces danger and tragedy when a ‘Rev 9’ Terminator (Gabriel Luna) zaps itself back in time to Mexico City to dispose of her. But, as in “Terminator 2: Judgement Day”, a protector is on hand. This time it’s in the ripped form of ‘enhanced’ human Grace (Mackenzie Davis). She’s there to protect Dani and maintain whatever key to the future that she holds.
Dani is assisted by Sarah Connor (Linda Hamilton), a vigilante Terminator-fighter wanted in all 50 US States for wanton destruction of property. But even this dynamic duo are no match for the unstoppable force of the Rev 9. So they must turn to an old nemesis from Sarah’s past for assistance.
James Cameron is heavily involved with this one. The decision was made to ‘reboot’ the series as if all the dodgy Terminator movies of the intervening years (after #2) had never happened. (That’s not to say that *I* necessarily found them all dodgy. I quite liked “Terminator 3: Rise of the Machines” for example, with it’s grim and downbeat ending).
Now I went into this flick understanding that premise. So a flashback scene in the first few minutes of the film left me mightily confused. How on earth did this link to the ‘thumbs up’ scene at the end of “Terminator 2”? #baffled.
But if you ignore this issue, the film settles into what I thought was a nice “Logan“-style modus operandi. There’s an exciting chase sequence along a Mexican highway, but it never overwhelmed the ongoing development of character and motive.
Unfortunately, this didn’t last. Overall, the script lacked momentum, showing a general lack of narrative drive. This is the result, I suspect, of the familiar malaise of ‘team-input’. There are a total of SIX writers contributing to the story and/or screenplay. For example, an opportunity to take a poke at Trump’s Mexican wall isn’t taken; neither are scenes in the topically newsworthy detention centre. It’s as if the “better not: we’ll upset people” button was pressed in either the writing room or by the studio.
Trying to make up for this wallowing second reel, the movie – on boarding a military transport plane – goes to extremes of unbelievable action, both in the sky and below the water. That “Logan-esque” start seems a long way away now.
There’s another element of the movie that confused the hell out of me. The ‘Rev 9’ is able to jump out of it’s “skeleton” which could then pursue actions on its own. Given the Terminator gets FLATTENED – skeleton and all – during certain scenes of the film, this makes little sense unless the skeleton is made of the same ‘liquid metal’ as the body. In which case, why not just have liquid metal that can assume multiple different forms and attack the target from all sides? Perhaps that came in with the “Rev 10”!
But it’s not as bad as I’ve made it sound. This is in no way a terrible movie. As a ‘brain at the door’ piece of sci-fi hocum I really quite enjoyed it. The cast in particular is nicely of our time. There’s a Colombian (not Mexican), feisty and successful female lead in the form of the relatively unknown Reyes. And she has two strong female characters in support. Arnie Schwarzenegger has top billing, but his is really a supporting role.
Natalia Reyes I thought was particularly impressive. The girl has real screen presence, and I look forward to seeing what she does next.
Mackenzie Davis is also terrific as the kick-ass cyborg. I particularly liked the way she executed a neat plot device. Grace has a ‘war-machine’ design… she’s designed for incredible bursts of activity over short periods, but then becomes next to useless as her body crashes and needs ‘rebooting’.
I don’t want to be mean, but there’s probably a reason Linda Hamilton hasn’t been in more mainstream movies since T2. Her acting here is adequate at best and didn’t really cut it for me. The script has delivered her a number of humorous lines – including the iconic “I’ll be back’ – but none of them really land in the delivery.
Instead , it’s Arnie who has the best lines in the movie, delivered with dead-pan wit. His “cover” identity – and particularly his chosen profession – deliver some laugh out loud dialogue.
All in all, I found this a big step up on other Terminator films in the series. The director is Tim Miller, he of “Deadpool“. It’s not bloody Shakespeare, but I found it – warts and all – an enjoyable night out at the movies.
For the full graphical review, check out https://bob-the-movie-man.com/2019/11/10/one-manns-movies-film-review-terminator-dark-fate-2019/
Dani is assisted by Sarah Connor (Linda Hamilton), a vigilante Terminator-fighter wanted in all 50 US States for wanton destruction of property. But even this dynamic duo are no match for the unstoppable force of the Rev 9. So they must turn to an old nemesis from Sarah’s past for assistance.
James Cameron is heavily involved with this one. The decision was made to ‘reboot’ the series as if all the dodgy Terminator movies of the intervening years (after #2) had never happened. (That’s not to say that *I* necessarily found them all dodgy. I quite liked “Terminator 3: Rise of the Machines” for example, with it’s grim and downbeat ending).
Now I went into this flick understanding that premise. So a flashback scene in the first few minutes of the film left me mightily confused. How on earth did this link to the ‘thumbs up’ scene at the end of “Terminator 2”? #baffled.
But if you ignore this issue, the film settles into what I thought was a nice “Logan“-style modus operandi. There’s an exciting chase sequence along a Mexican highway, but it never overwhelmed the ongoing development of character and motive.
Unfortunately, this didn’t last. Overall, the script lacked momentum, showing a general lack of narrative drive. This is the result, I suspect, of the familiar malaise of ‘team-input’. There are a total of SIX writers contributing to the story and/or screenplay. For example, an opportunity to take a poke at Trump’s Mexican wall isn’t taken; neither are scenes in the topically newsworthy detention centre. It’s as if the “better not: we’ll upset people” button was pressed in either the writing room or by the studio.
Trying to make up for this wallowing second reel, the movie – on boarding a military transport plane – goes to extremes of unbelievable action, both in the sky and below the water. That “Logan-esque” start seems a long way away now.
There’s another element of the movie that confused the hell out of me. The ‘Rev 9’ is able to jump out of it’s “skeleton” which could then pursue actions on its own. Given the Terminator gets FLATTENED – skeleton and all – during certain scenes of the film, this makes little sense unless the skeleton is made of the same ‘liquid metal’ as the body. In which case, why not just have liquid metal that can assume multiple different forms and attack the target from all sides? Perhaps that came in with the “Rev 10”!
But it’s not as bad as I’ve made it sound. This is in no way a terrible movie. As a ‘brain at the door’ piece of sci-fi hocum I really quite enjoyed it. The cast in particular is nicely of our time. There’s a Colombian (not Mexican), feisty and successful female lead in the form of the relatively unknown Reyes. And she has two strong female characters in support. Arnie Schwarzenegger has top billing, but his is really a supporting role.
Natalia Reyes I thought was particularly impressive. The girl has real screen presence, and I look forward to seeing what she does next.
Mackenzie Davis is also terrific as the kick-ass cyborg. I particularly liked the way she executed a neat plot device. Grace has a ‘war-machine’ design… she’s designed for incredible bursts of activity over short periods, but then becomes next to useless as her body crashes and needs ‘rebooting’.
I don’t want to be mean, but there’s probably a reason Linda Hamilton hasn’t been in more mainstream movies since T2. Her acting here is adequate at best and didn’t really cut it for me. The script has delivered her a number of humorous lines – including the iconic “I’ll be back’ – but none of them really land in the delivery.
Instead , it’s Arnie who has the best lines in the movie, delivered with dead-pan wit. His “cover” identity – and particularly his chosen profession – deliver some laugh out loud dialogue.
All in all, I found this a big step up on other Terminator films in the series. The director is Tim Miller, he of “Deadpool“. It’s not bloody Shakespeare, but I found it – warts and all – an enjoyable night out at the movies.
For the full graphical review, check out https://bob-the-movie-man.com/2019/11/10/one-manns-movies-film-review-terminator-dark-fate-2019/
The Crowning of the Fire King by Sorcerer
Album Watch
Sorcerer was formed in Stockholm, Sweden in 1988 by Johnny Hagel (Tiamat, Sundown, Lithium), Tommy...
metal
Paul Chesworth (3 KP) created a post
Feb 20, 2018
Bong Mines Entertainment (15 KP) rated Ella Mai by Ella Mai in Music
Jun 7, 2019 (Updated Jun 7, 2019)
Ella Mai is a talented R&B/Soul singer from London, England. Not too long ago, she released her deliciously impressive self-titled debut studio album, which uses her name as an acronym to communicate its message.
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/
Bong Mines Entertainment (15 KP) rated Rather You Than Me by Rick Ross in Music
Jun 7, 2019
Rick Ross is a rapper and CEO of Maybach Music Group. Not too long ago, he released “Rather You Than Me“, a star-studded album filled with expensive thoughts and gun-toting lyrics.
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/
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