Unsurprisingly scoring a bit lower than when Kendrick was on…

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Alfred Soto: Funeral proved an unexpected surprise: Wayne awake on his first decent superstar album in years. “I Do It” won’t persuade the skeptics. Rex Kudo & Charlie Handsome‘s beat encourages Big Sean to sing-song through a typically blah verse, and Wayne sounds defensive. The only standout: “I bust down the noose/Put it on my neck, now my neck is a nuisance.”
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Brad Shoup: One dude asks to write alongside Wayne and it’s the best he’s sounded in ages. No dire groaners, just an adaptation to the new way that allows him to be funny while maxing out hot and cold.
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Katherine St Asaph: A track called “I Do It” that’s too soporific and sluggish for that purpose — or for that matter, too-containing-Big-Sean.
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Thomas Inskeep: Lil Baby has flow, sure, but that incessant Auto-Tune is so, so off-putting, whereas Lil Wayne uses it as an effect when he uses it — and he’s not using it on “I Do It,” but is instead reminding us that when motivated, he’s still capable of being an incredibly nimble rapper. Big Sean’s a great rapper too, but is underused on a weaksauce chorus. This should be better.
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Joshua Minsoo Kim: The final 45 seconds hint at something special: the quasi-cohesion, the crass AutoTune, the way all three rappers weave in and out. If the rest of the song didn’t feel so cut and dry, “I Do It” could be a beautiful sort of ugly.
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Julian Axelrod: Big Sean’s “Funeral” ad-libs bookend the song, but they’re really a one-word synopsis: This is an ode to Wayne, a tee-up for Funeral, and a celebration of his triumphant escape from Cash Money Penitentiary. The young guns just sound happy to be there. Proximity to their predecessor brings out Baby and Sean’s best inherited qualities (helium-voiced huffs and class clown punchlines, respectively), which makes Wayne’s woozy, delirious verse all the more satisfying. Imitation is the sincerest form of flattery, but letting your hero wash you on his own song is a close second.
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