2025 is the year to glaze vets. Let's get straight into the songs. 'Against the World' is likeable, but the production is just another soul loop repeated for a couple of bars. This is a complaint I’ll "repeat" numerous times. Can we have a little more creativity and variation in a song? 'Gunfire' is meh. It’s kind of hard, but the production does absolutely nothing different - not even for the hook. 'The M. The O. The B. The B.' probably has the best hook from the first four tracks, which isn’t saying much. Again, the beat stays the same for the entire song. The Nas-assisted 'Down For You' is a welcome change from the previous four tracks that have a similar sound. The 'Taj Mahal' production is one of the best, but again, it doesn’t evolve. Actually, it changes with some rich instrumentation right at the end. What a waste! 'Score Points' has a dark, menacing beat, but is a one-bar loop on repeat! 'My Era' follows a similar vibe with a bit more effort in the production, but it basically has no hook. Nas returns on 'Pour the Henny', backed by another melancholy instrumental, helping it be one of the best moments. On 'Clear Black Nights', we finally get some variation in the production as the song progresses instead of just being a few bars looping for three minutes. I’ve probably listened to this album six or seven times, sometimes just in the background while doing other things. There’s nothing here that hits near A-tier, which is something I’ve said a lot lately. What’s really missing in hip hop now is that one or two-track stretch with undeniable replay value. The kind of songs you have to run back. Overall, this is consistently okay, but aren’t we past the point of looping the same few bars for an entire song? It comes off as lazy. The dark beats suit Mobb’s style, but they never evolve. Add some new layers or switch-ups here and there. Don’t just build a four (if that) bar loop and leave it untouched. The loops themselves aren’t bad, but if they shifted during the hooks to add variety and break the monotony, the album would be much stronger. Finally, the subject matter feels just as repetitive as the production. This is mad overrated because Mobb is a beloved group with a deceased rapper. Look at the vitriol some of the fans directed towards a publication because they thought this was a 7/10...Edit (It's even a tag)...It says it all. Beats: ★★☆ Rapping/Bars: ★★★ Hooks: ★★ Best Tracks: Against the World, Pour the Henny, Discontinued

As everyone is alluding to, you couldn’t make this movie these days. It’s not very sensitive to certain groups of people, to say the least. The film does well to keep moving as there’s hardly a moment of stillness, with one action scene after another. However, there isn’t enough plot or strong pacing to make it more engaging. In one scene, Jesse and Allan are in a large pot about to be cooked by cannibals who “prefer white meat.” From the outside, the pot looks a certain size, but in the interior shots, it suddenly appears as big as a swimming pool. It's kind of entertaining but it's not a good movie.

It’s meant to be a sequel to a 2000 album (I get that) but this honestly sounds like it could have been released back then. If you’re going to lean into a throwback sound, either modernise it or make it exceptional. It's not. After the first stretch of tracks, 'Georgy Porgy' comes on and only reminds me that Lyte pulled it off better three decades ago. 'Rap Kingpin' is one of the stronger cuts, but even that leans on worn-out samples. Using 'My Melody' by Eric B. & Rakim that has been sampled over 150 times! I’ve given the project multiple listens, yet very little sticks, and the unnecessary skits just drag the momentum further down. I generally like Ghostface, but his yelling-like delivery over a whole album can get tiresome. What this album needs is something genuinely catchy, and unfortunately, there isn’t much of that to be found. More drums, another soul sample - is that really all there is? With the lack of engaging hooks to make something stick, the production needs to be of a higher standard. Beats: ★★☆ Rapping/Bars: ★★★ Hooks: ★★ Best Tracks: Sample 420, Rap Kingpin, Love Me Anymore, Candyland, You Ma Friend

After a strong run of albums filled with replayable tracks, this one drops the ball for 112. Maybe it’s coincidence, but it’s also their first album not released exclusively on Bad Boy, now shared with Def Soul, and the production lineup isn’t as strong. No Tim & Bob. No Winans or R. Kelly like on 'Part III'. While the album is still decent, serviceable R&B, the highs just aren’t here. The lead single, the dancehall-influenced 'Na Na Na Na', is the weakest single I can remember from them, and when the interludes and intros rank among the best moments, that’s never a good sign. 'Everyday' stands out slightly, offering a different type of track with Daron Jones rapping about critics, haters, and gossipers. Best Tracks: Intro/Medley, I Belong to You (Interlude), Right Here for U, Hot & Wet (Remix)

From the mostly hardcore, Onyx-like debut, the group takes a different direction here, leaning more into jazz rap with a stronger focus on conscious lyrics. The first half is solid. The first two songs are easily the strongest in my opinion. There’s a Rasta-style verse from Y-Tee in 'Wax' that basically sounds like gibberish, which drags the song down a bit, and that same issue pops up a few more times throughout the album. 'The Beat Down' featuring the beat-boxing Rahzel, could've added to the run of the first two tracks, but at only 59 seconds, it just feels pointless. 'S.O.S.' does most things right, but again, Y-Tee's contribution isn’t really my cup of tea. And I’m not a fan of Mos Def’s features here, particularly on 'The Love Song', where his vocals feel self-important, turning it into his track rather than a collaboration. 'In Meh Dreams' is more reggae gibberish and the worst song here, and unfortunately 'Melting Plastic' again features Y-Tee, which is a shame since it could’ve been a good, vibey track otherwise. This album may be more consistent and lyrically developed than their debut, showing some creative growth, variety of songs, and a few more likeable hooks. Still, after 'S.O.S.' (which others might rate higher than I did), not much really stands out. Without Y-Tee, I’d give it another half a star or two though. Beats: ★★★ Rapping/Bars: ★★☆ Hooks: ★★★ Best Tracks: Gravity, Wax, Maybe