Tha Carter IV achieved the top spot on the charts, but critical reception hasn't been overwhelmingly positive, with many expressing disappointment that Lil Wayne’s latest album doesn’t possess the distinctive and unusual quality that made Tha Carter III so remarkable. (This outcome isn't entirely unexpected given his eight months spent at Riker’s Island.) However, for those hoping to see the earlier Weezy, Adam Bhala Lough’s film, documenting a six-month period alongside Wayne as Tha Carter III became hugely successful, provides an extensive look – perhaps excessively so, considering Wayne attempted to prevent the movie's release after its 2009 Sundance Film Festival premiere. (Currently, it remains in legal proceedings within the United States but is readily accessible on DVD internationally.) The documentary’s structure feels rambling and disconnected, which surprisingly works well because the style perfectly reflects its subject. The Carter portrays Wayne alternating between Amsterdam and touring, following a somewhat unclear but undeniably prolific creative process that combines frequent marijuana use and “purple” (a soda mixed with cough syrup) consumption with an impressive work ethic; he always has a microphone and portable recorder available to capture the couplets he spontaneously creates (and consistently plays back – he reportedly only listens to his own music). The film immerses viewers in the unique internal world of an artist who seems completely absorbed in the present moment and operates solely by his own rules, gradually revealing insights through a powerful live performance of “A Milli,” awkward interviews with a Dutch journalist who dares to discuss poetry and jazz (the movie’s equivalent to a Dont Look Back scene), another interviewer asking Wayne to contemplate his own mortality, and fleeting moments where you're reminded that there’s a person named Dwayne Carter Jr. beneath the layers of eccentricity and marijuana smoke.

Source on TMDB