The Snowpiercer TV series knew that it would never be able to match up to Bong Joon Ho’s 2013 film, and to be fair, the show embraces this certainty. It’s almost the opposite of Watchmen in that way. Remember how a lot of comic book fans felt, at best, ambivalent about the HBO series (because Zack Snyder made such an underwhelming flick) before it landed as a successful reimagining? Whereas Snowpiercer is rebooting a masterpiece, and that’s also tough stuff. Comparisons are inevitable, but the notoriety of the movie (and the source material, Jacques Lob and Jean-Marc Rochette’s graphic novels) will bring viewers into the fold. Yet the show pushes hard to be something almost entirely different than the film, which pulled off a deeply dark parable with an absolutely frigid take on class warfare and social uprisings. Starring an unusually gritty Chris Evans and a deliciously bonkers Tilda Swinton, the film also threw down (as I wrote in our Best Films Of Last Decade list) a fiercely confident and savage mating dance between an action dream and an art-house hard-on, one that still chills to the bone.

Bong Joon Ho’s now gained even more respect with the multi-Oscar-winning Parasite, currently one of Hulu’s most-watched titles. If those viewers hadn’t watched yet Snowpiercer, they sure as hell have done so by now and are familiar with a story that’s so compelling that the “babies taste best” line couldn’t ruin the vibe. Expectations must be managed, though, for there’s only a superficial resemblance between and movie and TV show. Yes, TNT’s series is still set in the same place: a post-apocalyptic, globe-circling train, which can never stop and contains the last survivors of humanity. Almost everything else is tweaked, other than the same basic class structure (wealthy, ticketed passengers enjoy opulent luxury near the front, whereas “The Tail” occupants began as stowaways) and the talk of a mysterious benefactor, Mr. Wilford. Within his almost mythic feat of engineering, rules must be followed, lest one lose a limb or two.

Speaking of appendages, this show’s first season (it’s already renewed for a second one) never finds solid footing, although it’s plenty entertaining.

Look, reboots happen, but should one reboot a masterpiece? It’s a dilemma and a valid question on whether this series can justify its own existence after fighting to do so for many years. This Snowpiercer, while striving to be different, doesn’t seem to know what it’s trying to be. At first, the series adopts a Law and Order-esque, procedural framing that later evaporates into campiness that doesn’t quite reach the level of the movie’s schlocky thrills. It does tackle power structures and questions why humans choose what leaders to worship, but the show doesn’t go broadly philosophical like the movie. And things get kinda saucy when people fall into train-sex mode with former lovers and new ones. It’s kinky and strange! And soap-operatic. At least it’s not dull.

Running this version of Snowpiercer would be Melanie Cavill (Jennifer Connelly, doing the ice-queen thing), chief of hospitality and messenger for Mr. Wilford. Melanie is carved from stone but capable of great cruelty and brutality. Her adherence to order is threatened by a murder mystery, and Andre Layton (Daveed Diggs of Hamilton) gets pulled out of The Tail because someone up in third class remembered that he used to be a homicide detective. Can he abandon his people and pledge allegiance to Wilford? It’s a question that’s posed oafishly when Andre gets to eat a grilled cheese sandwich for the first time since the apocalypse. The scene is overplayed, almost sensually, like so many others in this season, as a contrast to the very clinical feel of Melanie’s hopes for how this train should operate. It sounds f*cking weird for me to single out a grilled cheese sandwich scene, but that’s when I (first) sensed that this show was going to overdo things for the sake of overdoing them.

It’s almost so intentionally clumsy that I have to admire all of it. My gut feeling is that much of the show’s jam-packed feel (although in a literal sense, the TV series sets feel far less claustrophobic than the movie did) means to overcompensate for the absence of Tilda’s Mason character and her enormous, scenery-chewing chompers. Of course, Mason did not exist in the graphic novel, so I can accept that she doesn’t exist in the show’s take on the story (even though she should be on the train, since it takes place 7 years after the extinction event, as opposed to the movie’s 15 years), but the show feels like it’s tossing in wacky sh*t to make up for Mason’s omission. It can’t pretend to be hiding Mason somewhere in a corner, but the character’s spirit haunts the TV show in an incomplete way. Blame Bong Joon Ho for putting such an indelible stamp on this franchise, right? One can’t forget the genius of the movie after witnessing it.

Still, I do think it’s possible for the TV series to find a forgiving audience. As I said earlier, the show quickly dispenses with the procedural framing, and Diggs’ Andre later starts striving toward mutiny. That’s where we’d expect a Snowpiercer show to go, and hopefully to thrilling places in the process, but the show is too confused about its own identify and kind-of disorganized, even while attempting the opposite effect. Multiple framing devices exist, including how each episode begins with a different character monologuing about their life on the train, but the show still can’t wrap its arms around a bigger picture. Again, this reboot isn’t bad at all. It’s fine, but man, this train’s fighting an uphill battle for acceptance. It slip-slides all over the ice while simultaneously attempting to live up to and dodge expectations laid down by Bong Joon Ho’s work of art. That takes guts, so perhaps this less-artsy-train-that-could can grip the tracks and find a fanbase of its own.

TNT’s ‘Snowpiercer’ premieres on Sunday, May 17th at 9:00pm EST.

---

View Entire Post ›

---

View Entire Post ›

---

View Entire Post ›

Admittedly, I had a slight aversion to the prospect of Scoob! (though, not near as much as some people) just because of the title alone. It sounded too “cool” for my tastes. Or, at least, that weird corporate attempt to be “cool.” That title insinuated, “Look, Scooby-Doo isn’t cool. But do you know what is cool? That’s right, kids. Scoob! is cool. See that exclamation point? How can something not be cool with an exclamation point?”

Anyway, title trickery aside, as it turns out, Scoob! is basically a really fun Scooby-Doo episode. It’s billed as an origin story – and, yes, we get to see how Scooby and Shaggy met (voiced later as adults by Frank Welker, who voiced Fred in the original animated series, and Will Forte, who, as you can probably imagine, makes a really great Shaggy) – but this only takes up maybe the first 15 minutes or so of Scoob! before it kicks into a pretty great montage, partially based on the original Scooby-Doo, Where Are You? opening credits, and sends our heroes into adulthood* and just on one of their normal adventures.

*Though, I can’t help but wonder how old Fred (Zac Efron), Daphne (Amanda Seyfried), Velma (Gina Rodriguez), and Shaggy are all supposed to be. When we see Shaggy as a kid he has a Super Nintendo and has a picture of David Letterman interviewing his hero, Blue Falcon, hanging on the wall. Let’s say this was 1995 and Shaggy was 10. Are they all in their mid-30s? At one point in the film the villain refers to them as millennials, so maybe they are? My point is it’s kind of interesting to present a “new and flashy animated reboot” to a new generation and the main characters are pushing 40. Then again, at another point Shaggy mentions he’s known Scooby for 10 years, but that doesn’t really line up with what we see in the flashback. My point is, I think this means Scooby-Doo is supernatural. I mean, we knew he could talk, but apparently he’s also immortal.

It’s weird how, since Scooby-Doo entered popular culture in 1969, he’s always been around, but he’s always had his ebbs and flows. He had a resurgence on Saturday morning cartoons of the ‘80s. (Of anything I wonder why something doesn’t exist anymore, it’s this. I remember when the new Saturday morning lineups would be announced in comic book advertisements and it was genuinely thrilling. “Wait a minute, Mr. T has a show now?!?!”) In the early 2000s, there were the two live-action Freddie Prinze Jr. films. And, now here comes Scoob!, a film kids will probably watch a zillion times over the next few quarantined months.

Though, I think it’s kind of interesting to show how all these people met. Because it’s not really normal that someone like Fred hangs out with someone like Shaggy. There’s really no basis at all for their friendship. Actually, I went back to see how Scooby-Doo was first presented to the masses and it’s just a normal episode of Scooby-Doo, Where Are You? in which the gang is already together, investigating a suit of armor that comes alive every full moon. (Though, while looking all this up I found out that Scooby’s name came from some the end of a Frank Sinatra song and that Shaggy was based on Bob Denver’s character (Maynard G. Krebs) from The Many Loves of Doby Gillis. Denver would of course go on to portray the title character from Gilligan’s Island Later, Scooby-Doo and Gilligan would eventually meet.)

In the main plot of Scoob!, the gang happens to meet Simon Cowell who has harsh words for Shaggy after his bad rendition of “Shallow.” Dejected, Shaggy and Scooby leave the others to go bowling and are attacked by evil bowling robots. The two are saved by Blue Falcon (Mark Wahlberg, who winds up doing pretty funny voicework here) – who we learn quickly is the son of Blue Falcon and he’s not as competent as his father was) – and Dynomutt (Ken Jeong) who are tracking the whereabouts of the evil Dick Dastardly (Jason Isaacs). Dick Dastardly is after treasure hidden in a supernatural underworld that can only be accessed by a descendant of Alexander the Great or Alexander the Great’s dog. As it turns out, Scooby-Doo is that dog. (Wow, alright, that is quite the plot for a Scooby-Doo movie.)

Though, again, I found myself having a fun time while watching Scoob!. It’s really nerdy, which I liked. And it mixes the right balance of nostalgia (again, the theme song montage is really great; and yes we see a few guest stars from classic Hanna-Barbera cartoons along the way during the film) and a modern story and fast-paced enough that will, I assume, satisfy kids today looking for any kind of entertainment while stuck at home. (Or, yes, satisfy adults looking for any kind of entertainment while stuck at home.)

You can contact Mike Ryan directly on Twitter.

---

View Entire Post ›

Heading into 2020, the new year was slated to be a big one for TDE as a number of the label’s artists were either confirmed or rumored to release albums this year. Reason was slated as the first act to release this year, while names like Kendrick Lamar, Schoolboy Q, and Isaiah Rashad were expected to arrive later in the year. However, as we near the halfway point in 2020, aside from TDE Appreciation Week and the singles that resulted from it, the label has yet to make any of the noise fans expected it too, but with Reason still up first, hopefully things will change with his latest single.

Following his “Trapped In” track, Reason brings labelmates Schoolboy Q along as the two west coast rappers connect for “Pop Sh*t.” As described by Reason, the single is “not be a single type record, this will not be ‘might not make it,’ this is rap at its core.” Produced by Kal Banx, Reason first announced the track with a short video that found him attempting to escape from his bad side. After evading the villain for some time, Reason eventually came face to face with his nemesis where he is forced to surrender.

Check out Reason’s release from TDE Appreciation Week, “Might Not Make It.”

Press play on “Pop Sh*t” in the video above.

Following the success of Big Daddy, his third movie in a row to gross over $100 million, star-friendly studio Sony offered Adam Sandler his own production company: Happy Madison, named after his breakout comedies Billy Madison and Happy Gilmore.

Sandler’s hot streak continued for years to come (between 1999 and 2011, only one live-action comedy he starred in, Little Nicky, failed to cross the $100 million barrier). It also allowed him to work with his buddies, including, for better or worse, Rob Schneider, Kevin James, Allen Covert, and David Spade, whose new movie, The Wrong Missy, came out on Netflix this week. Despite an enjoyably unhinged performance from Comedy Bang Bang favorite Lauren Lapkus, The Wrong Missy does not appear on this list of the best Happy Madison movies. Maybe it’s because I’m a Sandler apologist, and because I love one-star movies that I enjoy like a five-star movie, but it was tough only choosing 10 titles from the filmography, which dates back to Deuce Bigalow: Male Gigolo (also not on the list). I was already leaving off The Master of Disguise. No, really.

Ready to begin? Terrific.

10. Grandma’s Boy

Grandma’s Boy might be the most Happy Madison ever. Look at that image! It’s two unconventional male leads in their 30s, one of whom is dating a woman ridiculously out of his league, smoking pot and playing video games next to a monkey. This, I should say, is not a bad thing. Some of the best Happy Madison are supremely stupid, and Grandma’s Boy is very, very dumb. It stars Allen Covert as the titular grandma’s boy, a video game tester who lives with his grandmother and her friends after being kicked out of his house because his roommate spent the rent money on sex workers. Grandma’s Boy uses a different word to describe their profession, just one of many well-meaning, but lightly problematic things throughout the film (the racial politics: not great!). But it has the always-wonderful Linda Cardellini singing “Push It,” which forgives a lot of sins.

9. Sandy Wexler

One of my favorite things about Happy Madison movies is the random collection of people in the cast (Taylor Lautner, Steve Buscemi, and Vanilla Ice? You do you, The Ridiculous 6.). I mean, would you say “no” to Adam Sandler. For instance, here’s the cameo list for Sandy Wexler, my favorite of Sandler’s straight-to-Netflix movies:

Jewel, Darius Rucker, Jason Priestley, Gary Dell’Abate, Arsenio Hall, Quincy Jones, Judd Apatow, Janeane Garofalo, Pauly Shore, Kevin Nealon, Lorne Michaels, Dana Carvey, Chris Rock, David Spade, George Wendt, Penn Jillette, Henry Winkler, Tony Orlando, Al B. Sure!, Brian McKnight, Vanilla Ice, Jimmy Kimmel, Conan O’Brien, Louie Anderson, “Weird Al” Yankovic, Kenneth “Babyface” Edmonds, Mason “Ma$e” Betha, Jay Leno, Lisa Loeb, Jon Lovitz, Budd Friedman and his wife Alix Friedman… Mike Judge makes a vocal cameo as Beavis and Butt-Head during the end credits. Professional wrestlers Rikishi and David Otunga have brief roles.

That is a wild assortment of vaguely to extremely famous people. Imagine the wrap party, with Conan and Jay Leno breaking Panera-catered bread, Henry Winkler talking about fish with Pauly Shore, Hootie and Jewel remembering the 1990s. Oh, to be a fly in that hypothetical scenario. Cast aside, though, Sandy Wexler is better than The Ridiculous 6, The Week Of (which has its moments), The Do-Over (which doesn’t), and Murder Mystery because, as Vulture‘s Jesse David Fox wrote in his extremely thorough Sandler ranking, “the plot is just him going from one of his friends to the next and laughing at the ridiculous characters they’re doing.” Sandy Wexler isn’t a passion project in the traditional sense, but it’s a project full of passion for entertaining oddballs. It’s the most heartfelt of Sandler’s Netflix offerings, and maybe his entire filmography.

8. Click

Before writing this post, if you had asked me where I was going to rank Click, I would have said top five, easily. Maybe even in the top three. Then I re-watched Click for the first time in years, and unfortunately, it’s not as good as I remember. Even for a Happy Madison movie, there’s a lot of fat-shaming and gay jokes (at least Little Nicky had the “excuse” of coming out in the 1990s), and schlubby family-man sentimentality is never a good fit for Sandler. But Click has one genuinely terrific performance. No, it’s not that punk O’Doyle kid, seen for the first time since Billy Madison. It’s Christopher Walken as the mad scientist/angel of death who hands Sandler the universal remote control, in that it’s a remote that controls the universe (get it?). He leans into the character’s punctuated weirdness, delivering lines like “he’s always chasing the pot of gold, but when he gets there, at the end of the day, it’s just Corn Flakes” with an inspired specificity.

Another good thing about Click:

I love films.

7. 50 First Dates

Adam Sandler and Drew Barrymore have made three movies together: The Wedding Singer, which is great; Blended, which is very bad; and 50 First Dates, which is… fine.

It’s maybe the movie on this list I’ve seen the most often, because it’s always on TV, but the repetition does the romantic-comedy no favors. Sandler and Barrymore are cute together, but it’s tough to not question the premise, with Sandler’s Henry having to convince Barrymore’s Lucy to repeatedly fall in love with him after a car crash leaves her waking up every morning with no memories of anything that happened after the accident. The ending, which is supposed to be sweet but comes off creepy, is particularly uncomfortable: a confused Lucy wakes up on a boat, married to a man she doesn’t know with a daughter she doesn’t remember. But it’s to Sandler and Barrymore’s credit that they’re so likable together, they mostly pull this horror movie premise off.

6. Little Nicky

Little Nicky somehow looks both extremely expensive and hilariously cheap, which works in its favor. It’s a ramshackle affair about one of Satan’s three sons, Nicky (Sandler), traveling to Earth to trap his escaped brothers Adrian and Cassius (Rhys Ifans and Tommy “Tiny” Lister Jr.) in a silver flask, so the frozen gates of Hell can re-open… and their dad (Harvey Keitel) will stop disappearing… and also Nicky falls in love with Patricia Arquette… and Kevin Nealon has boobs on his head… and Dana Carvey plays a shrill-voiced basketball referee. It’s a lot, but it’s also nothing, a series of barely-connected sketches that, frankly, I find it hilarious. If the Devil showing a pineapple up Hitler’s butt (crown-side first!) is wrong, I don’t want to be right.

5. Jack and Jill

Jack and Jill is the “chaotic energy” of movies. I mean:

In order, we have Adam Sandler, as Jill, thinking Skype is an anti-Semitic joke, which is barely a joke; Adam Sandler, as Jill, squishing a small horse; Shaquille O’Neal in a ham commercial; Adam Sandler, as Jill, waving at a shirtless Adam Sandler, as Jack, while she’s sitting on the toilet; Johnny Depp wearing a Justin Bieber shirt at a Lakers game next to an in-disguise Al Pacino; Adam Sandler, as Jill, talking to Jared Fogle (uh oh!) at a party; Al Pacino interrupting his own play to brag that he can “smell horny” from across the ocean; and the I Think You Should Leave car guy. The only thing crazier than the plot of this movie — where Adam Sandler plays fraternal twins Jack and Jill, including a scene where (to quote one of my favorite Letterboxd reviews ever) “Al Pacino wants to bang woman Adam Sandler but woman Adam Sandler doesn’t want to bang him back so man Adam Sandler bangs him” — is that it made $150 million at the box office. Game Night, a fellow studio comedy, was a considered huge hit in 2018, and it only made $117.7 million. Is Jack and Jill a good movie? No, of course not, but it’s laudably bonkers, and Sandler’s commitment to making Jill as annoying as possible is fascinating in some perverse weird way. Plus, it has the Dunkaccino rap, which I’m forever thankful.

Jack and Jill?

4. Mr. Deeds / Anger Management

I’m sorry, but I can’t separate the two. Not that they have much in common, other than coming out within a year of each other and making a ton of money, but they’re both in that “pretty good, but could have been better with some tweaks” area.

– The good in Deeds: Winona Ryder; the “Space Oddity” scene; “sneaky sneaky.”
– The bad in Deeds: the foot scene; the child abuse; making Peter Gallagher a bad guy.
– The good in Anger: JACK NICHOLSON.
– The bad in Anger: Rudy Giuliani (Sandler had some problematic favs).

I wouldn’t go out of my way to watch either Mr. Deeds or Anger Management, but I wouldn’t click to another channel if I saw either playing at 3 p.m. on a Sunday.

3. The House Bunny

The House Bunny is my Legally Blonde. That is not a knock on Legally Blonde, a very good movie; it’s a compliment for The House Bunny. Both films have blonde female protagonists who aren’t taken seriously because of the way they look, but where Elle Woods must convince the stuffed-shirts at Harvard Law School that she’s worthy of being a lawyer, The House Bunny is about a former-Playboy Bunny who becomes the house mother for the least popular sorority on campus. It’s low stakes, but that’s exactly what I like it about. There’s a lot you could read into The House Bunny, about ageism, and sexism, and don’t judge a book by its cover, but to the movie’s credit, I don’t think it’s aiming for messages. It’s an entertaining farce, anchored by a never-better Anna Faris and future-stars Emma Stone and Kat Dennings. “Instead of the Mahi-Mahi, can I get just the one Mahi, because I’m not that hungry?” is just funny, y’know?

2. Funny People

Funny People might be Adam Sandler’s definitive performance. More than Happy Gilmore, more than Punch Drunk Love, more than even Uncut Gems.

He’s extraordinary as George Simmons, a movie star making shitty-but-successful comedies like MerMan who returns to stand-up comedy when he’s diagnosed with acute myeloid leukemia, channeling the rage that’s simmering beneath the surface of most of his characters and his every-man likability. Seth Rogen, too, gives a top-tier showing as Ira Wright, who’s hired by George to write jokes for him as they tour the country; I’d say it’s surprising, but Rogen has long been an underrated actor. Funny People suffers from many of the same problems as director Judd Apatow’s other films, particularly the excessive run time, but there’s an honesty to it, full of joy and anger and sadness, that you don’t get from a lot of wide-release studio films, let alone wide-release studio comedies. While it would have been fun to see Sandler as the Bear Jew in Inglourious Basterds, it wouldn’t have been revelatory, like he is (Eminem, too) in Funny People.

1. You Don’t Mess with the Zohan

While doing research for this list (watching Bucky Larson: Born to Be a Star), my 19-year-old half-brother asked me to name my favorite Adam Sandler movie. Billy Madison or The Wedding Singer or Uncut Gems, if that counts, I responded, before turning the question back on him. “I know this is a weird choice,” he started, but I already knew what he was going to say, because I love it, too. You Don’t Mess with the Zohan isn’t my number one Adam Sandler movie, but it’s number one in the Happy Madison-verse.

Imagine the pitch meeting.

STUDIO HEAD: “Thanks for coming into today, Adam. What’s up?”

SANDLER: “So, I have an idea for this movie. It’s an action-comedy called You Don’t Mess with the Zohan. I play Zohan, an Israeli counter-terrorist who dreams of moving to the United States and becoming a hairdresser against the wishes of his parents.”

STUDIO HEAD: “I…”

SANDLER: “I’m not finished. At the end of the movie, Zohan will unite the Israelis and Palestinians, and one day, someone will write ‘it’s clear Zohan loves the ladies, regardless of age or size’ on the movie’s Wikipedia page.”

STUDIO HEAD: “I’m not…”

SANDLER: “You Don’t Mess with the Zohan will make $200 million at the box office.”

STUDIO HEAD: “You son of a bitch, I’m in.”

Zohan is one of the few likable characters Sandler has played in the Happy Madison era, and because it’s a comedically heightened universe, where no harm comes from dropping a piranha in your Speedo, you also buy that impossibly-beautiful woman would throw themselves at him. It’s a winking improvement on, say, Kate Beckinsale being married to Sandler’s grumpy architect in Click, or Jessica Biel sincerely asking fake-gay firefighter Chuck to touch her breasts in I Now Pronounce You Chuck & Larry.

What’s the bigger shame? That Sandler and Judd Apatow, who co-wrote Zohan, haven’t worked together beyond the top two movies on this list, or that Zohan hasn’t been inducted into the Marvel Cinematic Universe yet. (It worked for another New York-based Sony character.) Has Captain America settled the Israeli-Palestinian conflict after decades of strife while styling women’s hair in his free time? He wishes.

Following an equal amount of singles and album delays, Joyner Lucas shared his sophomore album, ADHD. The 18-track effort saw appearances from Young Thug, Timbaland, Logic, Fabolous, and more, but one of its standout records came thanks to an equally standout visual. Dropping “Will” days before the album’s arrival, Lucas paired the single’s with a visual that found himself in Will Smith’s shoes — his film shoes at least. Reenacting scenes from Fresh Prince Of Bel-Air, Pursuit Of Happiness, Bad Boys, Men In Black, and more, the video was a warm way to honor the legendary actor.

A month removed from meeting for the first time ever over a zoom call, where they both watched the “Will” video, Smith and Lucas have decided to add a new chapter to their story with a remix of “Will.” Kicking off with Lucas leading the way, Smith steps into the spotlight and grabs the mic to lay off a verse of his own where he reminds listeners of his hip-hop past, one that came “back before there was streaming sales,” Smith raps. “Way before all the iTunes and the fans had to get CDs still.”

Soon after the video’s inital release, Will Smith would praise Lucas for the video saying, “I am humbled and honored. One of the lines in there, you say, ‘You inspire people and you don’t even know it.’ It has been my intention from day one to into the world and just put positive energy and to be able to use my creation to inspire and elevate and empower. I just love what you’ve done — it’s creative… Hope to meet you one day.”

Press play on the remix is above.

ADHD is out now via Twenty Nine Music Group. Get it here.

Despite their lengthy time and popularity in hip-hop, Future and Travis Scott have brought their talents together on just a few occasions. The first came in 2015 with Travis’ “3500,” which also appeared on his debut album, Rodeo. Nearly four years later, the two would reunite this time on Future’s behalf thanks to “First Off” from his The Wzrd album. Getting back to work for a second consecutive year, Future and Travis work their magic once again on Future’s newly released album, High Off Life.

Dedicated to their beloved flashy diamonds, Future and Travis Scott’s “Solitaires” finds them thriving off their chemistry once again. Laying down a dark hook, Future slides through with a pep in his step for his first verse. Laying down a verse of his own, Travis Scott comes through with some thoughts of his own before going back and forth with the ATL rap star. The track arrives hours after Future had fans go one a scavenger hunt through 149 websites to his “All Bad” collaboration with Lil Uzi Vert, which will also appear on High Off Life.

In addition to “Solitaires,” High Off Life comes equipped with 21 songs in total and features from Drake, Meek Mill, Young Thug, Lil Uzi Vert, DaBaby and more.

Listen to “Solitaires” in the video above.

High Off Life is out now via Epic. Get it here.