This is such a tease of a 'heist film'. Nothing happens for most of this movie. Selma is there for eye-candy in nearly every scene where the camera pans on her parts, or she is stripping and what-not. Too much time is spent on her and Pierce's character getting used to and arguing over being retired. We get it already! The movie is not incredibly boring, which is a feat when you consider the lack of plot and the aspects that could have been developed more like the final heist, the tycoon/gangster aren't.

A decent boom bap, gangsta/conscious rap album from Teflon, a long time M.O.P. affiliate, who was going to release a collaborative album with Premo in 2005, but things didn't work out. This is an easy album to play and let spin from front to back, but nothing is groundbreaking. M.O.P. feature on three songs and produce four, so you can kind of know what to expect from that if you know M.O.P. but Teflon isn't the same kind of hardcore spitta. Beats: ★★★ Rapping/Bars: ★★★ Hooks: ★★★ Best Tracks: My Will, Get Mine, Rise Up

I like this more than his more jazzy previous album, 'Rhythm-al-ism'. The production is more likeable overall, he sounds more like himself and the lyrics aren't as sexually cringe. Like some of his previous albums I've spun, I couldn't say any track wows me, but it's enjoyable from front to back. 'U Ain't Fresh' sounds very much like an Erick Sermon production. I'm surprised he isn't the producer of that one. 'Speak On It (Club Mix/Dirty Version)' is the one song that gets boring here. Best Tracks: Change da Game, We Came 2 Play, Pitch In OnA Party, I Don't Wanna Party Wit U, How Come?, U Ain't Fresh (Club Mix), Do Wutcha Want, Do I Love Her? (Dirty Version/Club Mix)

I'd just checked out 'Rhythm-al-ism' and was underwhelmed but this is better. The beats do more, are funkier and harder, and just more my thing. There are still some average moments though on this album like the content on some of the sex songs such as 'Mo Pussy' and the attempt at reggae with 'Me Wanna Rip Your Girl' is a skip, but most are worthy west coast, g-funk, gangsta rap songs. Another song I won't be going back to is the closing shout-out track. I've said it before, but shout-outs should've been left to being text in the CD booklet. I don't know why it was a trend in the '90s, which is a shame, as the production bangs on 'The Last Word'. At only 42 minutes, there are still some skips, but it's a fairly enjoyable funky album. Beats: ★★★★ Rapping/Bars: ★★★★ Hooks: ★★★☆ Best Tracks: America'z Most Complete Artist, Jus Lyke Compton, When You're a Gee, Only Fo' tha Money

To be fair, after a big meal, and a late night, I was crashing when I viewed this, but despite its charm and some originality, that are the strengths of the movie, this doesn't come together. Were Charlie's character, Latte Pronto, and his publicist, Lenny, ever close enough for all of the emotion felt at the end? I didn't think so. Watching this, you have to completely ignore that the plot makes no sense with Latte achieving what he did without speaking which some won't be able to. Given the It's Always Sunny in Philadelphia fan that I am, I was crossing my fingers for Charlie Day to have a hit here, a project that he spent a long time working on, but it just has missing elements.