Josh Cabrita Movie Reviews & Previews - Rotten Tomatoes

Josh Cabrita

Josh Cabrita
Josh Cabrita's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): We Got This Covered, The Young Folks, Cinema Scope, MUBI

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet Roads in February (2018) To Jerkovic's credit, this dramatically fertile setup is dutifully underplayed as these women participate in cordialities expected of mother and granddaughter after such a long time apart.‐ Cinema Scope
Read More | Posted Sep 17, 2018
95% Bisbee '17 (2018) In blurring the distinction between documentary and fiction, Greene has more subtly done away with another binary: the contested past and our troubled present, and the illusory distance between the two. ‐ Reverse Shot
Read More | Posted Sep 10, 2018
71% Asako I & II (Netemo sametemo) (2018) By far the most surprising and satisfying selection of this year's Cannes Competition, Hamaguchi Ryusuke's Asako I & II sets up and throws out stylistic paradigms faster than you can grab hold of them. ‐ Cinema Scope
Read More | Posted Sep 5, 2018
88% Diamantino (2018) In this context, worldwide cataclysms might as well be as exotic, transportive, and fantastic as the visions of calming, skyscraper-sized puppies Diamantino experiences while on the field.‐ Cinema Scope
Read More | Posted Sep 5, 2018
3.5/5 92% Support the Girls (2018) Support the Girls is a rollicking workplace comedy, timed to the fast pace of life.‐ MUBI
Read More | Posted Sep 5, 2018
61% Everybody Knows (Todos lo saben) (2019) Something gets lost in translation this time around. It's as though the filmmakers' usual lessons about the subtlety and slipperiness of language had finally caught up to him.‐ Georgia Straight
Read More | Posted May 10, 2018
100% Dead Souls (2018) Eight-hour-and-sixteen-minute Dead Souls... is the rare work worthy of the self-important hubbub characteristic of the [Cannes] festival's rhetoric.‐ Georgia Straight
Read More | Posted May 10, 2018
100% The Stairs (2016) The Stairs retains the educational roots of its inception, so much so that the film's assemblage of talking head interviews and observational reportage could easily be mistaken for being purely functional.‐ Reverse Shot
Read More | Posted Apr 13, 2018
7/10 80% Unsane (2018) With Unsane, Soderbergh continues to explore the limitations and capabilities of digital images but this time the underlying anxiety has decidedly shifted.‐ The Young Folks
Read More | Posted Mar 23, 2018
3.5/5 91% Into the Inferno (2016) To watch one of Herzog's films is to enter into a state of madness, the only reasonable response to the world portrayed on the other side of the director's camera, an extension of his own perception.‐ MUBI
Read More | Posted Jan 9, 2018
74% Una (2017) The film's main sin is that it simplifies a victim's psyche to a straightforward "I love him/I hate him" quandary.‐ Cinema Scope
Read More | Posted Nov 10, 2017
No Score Yet Prank (2016) The film, very deliberately, is itself a prank.‐ Cinema Scope
Read More | Posted Nov 10, 2017
71% Little Wing (Tyttö nimeltä Varpu) (2016) Little Wing can't reconcile its humanism with its contrived structure, nor its affinity for characters on the fringes with its overly economical plotting.‐ Cinema Scope
Read More | Posted Nov 10, 2017
74% The Limehouse Golem (2017) The feminist critique is present in the dialogue and narrative structure, but it hardly feels integrated into the performances or the images. For all that Medina does with it, The Limehouse Golem might just as well have stayed on the page.‐ Cinema Scope
Read More | Posted Nov 10, 2017
No Score Yet Gaza Surf Club (2016) Gaza Surf Club is Disney masquerading as "documentary."‐ Cinema Scope
Read More | Posted Nov 10, 2017
60% Foreign Body (Corps étranger) (2016) What we have instead is a film that exists in limbo, a bold statement whimpered by a quivering voice.‐ Cinema Scope
Read More | Posted Nov 10, 2017
80% Colossal (2017) Despite its overcompensating title, Colossal is characterized by this quintessential lack.‐ Cinema Scope
Read More | Posted Nov 10, 2017
87% The Autopsy of Jane Doe (2016) Øvredal hands himself over to a familiar and uninspired cat-and-mouse runaround, but even when his film relies on clichés he presents them with a calculated confidence not often seen in studio horror flicks.‐ Cinema Scope
Read More | Posted Nov 10, 2017
84% The Square (2017) Given the relationship of the installation to the film and the film to the installation, it's impossible for one work not to overcloud one's view of the other.‐ Cinema Scope
Read More | Posted Nov 10, 2017
100% Our People Will Be Healed (2017) But what remains, even as the camera awkwardly wobbles through hallways in stilted pillow shots, is the director's empathetic ear, which has always been her most valuable asset and more than makes up for any dearth of formal ingenuity.‐ Cinema Scope
Read More | Posted Nov 10, 2017
89% Meditation Park (2017) Shum has designed her film for general viewers, which means that coherence of tone and theme are less important than forcing in broad comedy and uplifting emotion‐ Cinema Scope
Read More | Posted Nov 10, 2017
83% The Little Girl Who Was Too Fond of Matches (2017) Ironically, the film's construction is as circular as the insular logic it so heinously condemns: a work imposed on its audience solely because its creator wills it to be so, and his Word, as scripture, is total, complete, and final.‐ Cinema Scope
Read More | Posted Nov 10, 2017
75% The Crescent (2017) Seth A. Smith's perplexing and propulsive The Crescent strips away nearly all exuberance from its mise en scène and presents Nova Scotia's naturally picturesque vistas in bleak hues.‐ Cinema Scope
Read More | Posted Nov 10, 2017
80% Black Cop (2017) For all its visceral images, the film's raw power isn't matched by equally provocative ideas.‐ Cinema Scope
Read More | Posted Nov 10, 2017
5/10 93% War for the Planet of the Apes (2017) The barriers that divide text from subtext and meta-text are torn down in War for the Planet of the Apes; instead we get all of them at once in a pasteurized soup of signification.‐ The Young Folks
Read More | Posted Jul 26, 2017
4/10 89% Voyage of Time: The IMAX Experience (2016) Voyage of Time, in both versions, is the first time a Malick film is caged within itself, the soul never quite reaching the liberated transcendence that all of his characters are so desperately looking for.‐ The Young Folks
Read More | Posted Oct 21, 2016
3/10 24% Ben-Hur (2016) Even as a political parable this Ben-Hur is gutless.‐ The Young Folks
Read More | Posted Aug 20, 2016
10/10 75% The BFG (2016) This is a full-bodied immersion into another place, another time, another reality.‐ The Young Folks
Read More | Posted Jun 29, 2016
4/10 92% Sieranevada (2016) ... the film never gets beyond the banal, never digs deep enough to evoke something that is beyond what we can see on screen.‐ The Young Folks
Read More | Posted May 22, 2016
7/10 70% Café Society (2016) Café Society is Woody Allen at his most sleepy and sensual, beautiful to behold and easy to forget.‐ The Young Folks
Read More | Posted May 22, 2016
7/10 70% The Unknown Girl (La fille inconnue) (2017) The Unknown Girl is a flawed and minor work from the Dardenne brothers, but it still has enough poignant moments to make the film rewarding as a whole.‐ We Got This Covered
Read More | Posted May 19, 2016
9/10 79% Personal Shopper (2017) Even though it's oblique, Personal Shopper is affecting, singular and a great showcase for Kristen Stewart.‐ We Got This Covered
Read More | Posted May 18, 2016
6/10 90% Loving (2016) Loving has Jeff Nichols' trademarks but it lacks the nuanced storytelling that made his previous films so successful.‐ We Got This Covered
Read More | Posted May 16, 2016
3/10 78% American Honey (2016) edundant, far too long and stylistically misconceived, American Honey is a disappointing turn for Andrea Arnold and another bad movie from Shia LaBeouf.‐ We Got This Covered
Read More | Posted May 15, 2016
10/10 93% Toni Erdmann (2016) With a perfect balance of heart and humor, Toni Erdmann transcends its clichéd premise, becoming one of the most tragic comedies of the decade so far.‐ We Got This Covered
Read More | Posted May 14, 2016
5/10 75% Staying Vertical (Rester vertical) (2017) Staying Vertical is a soulless, sometimes entertaining, but ultimately frustrating film from French auteur Alain Guiraudie.‐ We Got This Covered
Read More | Posted May 13, 2016
6/10 74% Holy Hell (2016) Holy Hell is a simplistic documentary that scrapes by on the warmth of its humanism and the empathy for its subjects, not the editing, structure or style.‐ The Young Folks
Read More | Posted Apr 29, 2016
5/10 73% A Hologram for the King (2016) The film's contradictions seem to turn inward, from an uncompromisingly disjointed narrative with a detailed world to an unearned romance that is realized in broad strokes‐ The Young Folks
Read More | Posted Apr 22, 2016
7.5/10 53% Demolition (2016) In a film full of artifice and absurdist comedy, Gyllenhaal grounds this grand folly, finding human pain in a character that could have been off-putting and insufferable.‐ The Young Folks
Read More | Posted Apr 15, 2016
3/5 72% Crimson Peak (2015) Crimson Peak is a film more concerned with style than characters and the mystery/romance/horror plot; despite an interesting theme, the characters are thin and the plot is predictable.‐ Fan The Fire
Read More | Posted Feb 25, 2016
1/5 8% Rock the Kasbah (2015) In form and content, plotting and politics, the film is egregiously disguised as a smug, inspirational piece, but in reality, it is the cinematic equivalent of being offered free hugs from Donald Trump.‐ Fan The Fire
Read More | Posted Feb 24, 2016
2/5 35% Our Brand is Crisis (2015) Promising to be a biting satire but succumbing to the juvenility it loathes, this film feels like it's still teething, unable to chew on a political jawbreaker.‐ Fan The Fire
Read More | Posted Feb 24, 2016
4/5 97% Theeb (2015) Theeb is a delightful surprise. It's not boring. It's not shallow. It's not predictable. ‐ Fan The Fire
Read More | Posted Feb 24, 2016
7/10 65% As You Are (2017) ...a visceral film where the conflict, characters and narrative slowly reveal themselves through details that foreshadow deeper hurt, unease and social injustice.‐ The Young Folks
Read More | Posted Feb 4, 2016
2/10 22% Yoga Hosers (2016) Amateurishly shot, edited, acted and written, with elements of the production that seem unfinished, this Smith's worst film. Yes. Worse than Cop Out.‐ The Young Folks
Read More | Posted Feb 4, 2016
10/10 91% Certain Women (2016) Certain Women is the rare film where every detail is alive: the town breathes through a glacial pace, the characters are nourished or starved by their interactions, the love shelters and warms everyone by way of Reichardt's humanistic vision.‐ The Young Folks
Read More | Posted Feb 4, 2016
9/10 93% Lo and Behold, Reveries of the Connected World (2016) ...Herzog is more concerned with the feelings and impact of the digital age, the insight provided by conversations... Each talking head is a person, not a robot to mechanically spew out information. ‐ The Young Folks
Read More | Posted Feb 4, 2016
9/10 96% Little Men (2016) The characters are all flawed and don't always act with nobility and altruism, but even as they undercut and condescend each other, the director Ira Sachs maintains a moral high-ground, treating his characters with respect even when they don't.‐ The Young Folks
Read More | Posted Feb 4, 2016
5/10 50% 31 (2016) 31 indulges as much as it withholds, failing to find a throughline in between the brilliant opening and the confounding closing shots.‐ The Young Folks
Read More | Posted Feb 4, 2016
7.5/10 82% Indignation (2016) I felt Marcus' disconnect; his lonely alienation where social interactions are like business deals. ‐ The Young Folks
Read More | Posted Jan 28, 2016