One thing for sure: the language makes this an R-rated film, not PG-13. When it works, it's very funny, such as that bathroom scene. In modern-day slapstick, it means one basic thing: gross out your audience, so that's what is attempted here. I didn't find the female lead in here, Lauren Holley, to be appealing but that's just my opinion. No need to go into details! As crazy as Jim Carrey got in some of his earlier movies (Ace Ventura, Liar, Liar, etc) he's actually lower-key than in some of the other stupid-guy roles he played, one reason because he's doesn't shout in here.
The "classic" of the funny scenes, at least to most men including me, is poor Jeff Daniels on the toilet. Do not let this project fly under the radar, Yellow Tape is the best trap release of 2020 so far, maybe the best release period.It's hard to believe this was out over a decade ago, but it was another in a long line (past few decades) of crude comedies.BUT one of the better ones regarding some laugh-out-loud funny scenes. The bars are hard yet calculated, the beats are unique and kick like crazy, and his voice reeks of authenticity. No gimmicks needed, he’s simply making some of the best trap music out. Key Glock successfully finds a way to make music that is the same as a lot of what’s currently being made without sounding stale or boring. Overall, Yellow Tape is one of the most exciting trap releases to drop in recent memory. The fact that he waited until the last track to tell us about his mother who was incarcerated his entire upbringing or about his troubles in school growing up show that Glock wanted you to be enticed by his artistry before allowing you to fully know who he is, a nice strategy that is consistent with the self-portrait he painted on Yellow Tape. The album ends with “1 of 1” where Glock finally gives us more context about his upbringing, fleshing out his character and allowing us to understand why he’s a cold-hearted, money-hungry, gangsta. Just as the title suggest, the tenth track “Flyest Highest Coolest Smoothest” flexes some of the best flows on the album as Glock smoothly delivers some of the coolest bars on the tape (“Same lil' nigga, big pistol, in the field blow like a whistle/Dope dealer, go-getter, boy, you just a broke nigga”). Track like this show that Glock has serious star potential and should alert all fans that he might be in for a massive 2020. The seventh song, “Look At They Face” has the most mainstream appeal out of all the tracks on the album due to Glock’s absolutely addicting hook (“Yeah, I heard them niggas hating 'cause I'm up now/I been makin' plays all day, yup, touchdown/I remember them days I used to pray for a bustdown/Now look at they face, look at they face, yeah, they on hush now”). Key Glock’s selection of unique beats keeps the album interesting and is another thing that makes this project shine brighter than most trap releases. This specific BandPlay produced instrumental features what sounds like a pitched down horn playing a looping melodic line throughout the whole song giving the track a 1920s feel well Glock assaults listeners with bars that in contrast to the instrumental, fit perfectly in the 2020 landscape. The third song, “Word On The Street” showcases another one of the album’s strengths, Glock’s selection of beats. Dre’s 1992 classic, “Nuthin’ But A G Thang,” an ambitious idea that Glock pulls off extremely well. On the chorus we see Glock interpolate the opening lines from Snoop Dogg and Dr. The track is infectious and successfully makes you feel rich yourself. On the track Glock exclusively raps about his one and only true love: money. “1997” effortless transitions into my favorite song on the album, “Dough”. While it might seem like these topics have been rapped about a thousand times before, right from the title track you can tell that Key Glock isn’t just a trapper adding to a saturated pool of indulgence and mediocracy but rather something fresh and new that is worth listening to. He does so with an assault of braggadocious trap bars about ignoring women and buying expensive jewelry.
The album starts with the cinematic intro “1997” where Glock flexes his difficult youth, while simultaneously drawing attention to the fact that the young emcee is only 22.
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