Going cinematic comes easy when your life's a movie, and since
Rick Ross' previous 12 months included platinum albums, numerous awards, and some pre-gig CPR and resuscitation on an airport runway, it seemed sensible that the Miami rap superstar cited
Scorsese and
Tarantino as influences for
God Forgives, I Don't. "Yeah, such a breath of fresh air/Get a blowjob, have a seizure on a Lear" is the typically brutish and bold way he addresses the recent past on the great, familiar anthem "Maybach Music IV," but his detractors should note that he didn't cite
Michael Bay or Brett Ratner as influences, meaning he's looking not just for bombast but for that new, kinetic kind of gangster noir, just like
Marty and
Quentin. On key track "3 Kings," he's found it, acting as a Tony Soprano-type character whose thoughts bounce between the meaning of life and the table dance happening in front of him, while mammoth guest
Jay-Z shows up with some free-association freestyling that's wonderfully clumsy and fun, while stone-cold legend
Dr. Dre uses the loose atmosphere to growl and drop some product placement ("You should listen to this beat through my headphones"). Hip-hop royalty being so free and flippant takes the superstar team-up cut to another level, and when it comes to putting his Maybach spin on new ground,
Ross proves he can thrive in "Prototype"-like surroundings during the smooth as silk "Sixteen," which slowly struts over eight minutes of J.U.S.T.I.C.E. League-produced elegance with
OutKast's
Andre 3000 along for the ride. Being overly serious is never an issue as
Ross chills in the red-light district during "Amsterdam," offering big-boy insults like "You a bitch, where your Honda Accord?" along with the depraved brilliance of "I laughin' at the people who labeled me poor/Now I'm pissin' on Europeans, you'd think it was porn." Then, three of the expected thug tracks -- "Hold Me Back," "911," and "So Sophisticated," with
Meek Mill -- help anchor the album before it's on to the unexplored with a
Pharell Williams-helmed finger-snapping cut ("Presidential"), some naked passion with
Omarion ("Ice Cold"), and a bright cut with
Wale and
Drake that compares fine woman to health food ("Diced Pineapples"). All of it works, there's plenty of ambition with little overreaching, and the most striking bits of the album are striking for unexpected reasons. That makes three lavish triumphs in a row for
Ross, with this one being the richest. ~ David Jeffries