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Josh Cabrita

Josh Cabrita's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Biography:

alternate email: josh@theyoungfolks.com

Reviews

Movies 온라인카지노추천 Shows
Crimes of the Future (2022) 80% “Cronenberg's new Crimes of the Future finds him overflowing with ideas and concepts, drawing influence from his own extensive body of work while forging ahead and trying vigorously to make sense of the "now."” – In Review Online Jun 2, 2022 Full Review Ghost Town Anthology (2019) 96% “This is Québec, its legacy, its numerous attempts to form a national identity; it is a place literally haunted by its past, and Côté refuses to mourn its forthcoming extinction.” – Cinema Scope Jul 13, 2021 Full Review The Twentieth Century (2019) 95% “I find it hard not to be attracted, even moved by, its skewed sentimentality, which immediately differentiates itself from the burlesque of a comparable (and admittedly more accomplished) work...” – Cinema Scope Feb 7, 2020 Full Review The Body Remembers When the World Broke Open (2019) 97% “It's for this reason-the close, real-time attention to behavioural nuance-that Hepburn and Tailfeathers have risked a formal gambit that could've easily seemed fraudulent.” – Cinema Scope Sep 12, 2019 Full Review Anne at 13,000 ft (2019) 89% “Instead of being a lugubrious exercise in the most facile form of humanist filmmaking... Anne takes a purely external viewpoint that allows for the contemplation of various surfaces.” – Cinema Scope Sep 6, 2019 Full Review Glass (2019) 37% “This is Shyamalan's alternate history. Believe if you must, but take the leap of faith at your own peril.” – Reverse Shot Jan 31, 2019 Full Review The Image Book (2018) 90% B+ “Jean-Luc Godard's The Image Book is as dense and alienating as anything the iconoclastic director has made this century.” – AV Club Jan 24, 2019 Full Review Green Book (2018) 77% “Peter Farrelly's film is far more endearing, precise, and tricky than its conventional racial scenario leads one to expect.” – MUBI Dec 4, 2018 Full Review Roads in February (2018) 86% “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 Sep 17, 2018 Full Review Bisbee '17 (2018) 93% “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 Sep 10, 2018 Full Review Asako I & II (2018) 77% “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 Sep 6, 2018 Full Review Diamantino (2018) 87% “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 Sep 6, 2018 Full Review Support the Girls (2018) 91% 3.5/5 “Support the Girls is a rollicking workplace comedy, timed to the fast pace of life.” – MUBI Sep 5, 2018 Full Review Everybody Knows (2018) 78% “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 May 11, 2018 Full Review Dead Souls (2018) 100% “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 May 11, 2018 Full Review The Stairs (2016) 100% “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 Apr 13, 2018 Full Review Unsane (2018) 80% 7/10 “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 Mar 23, 2018 Full Review Into the Inferno (2016) 92% 3.5/5 “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 Jan 9, 2018 Full Review Colossal (2016) 82% “Despite its overcompensating title, Colossal is characterized by this quintessential lack.” – Cinema Scope Nov 10, 2017 Full Review Una (2016) 76% “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 Nov 10, 2017 Full Review Foreign Body (2016) 67% “What we have instead is a film that exists in limbo, a bold statement whimpered by a quivering voice.” – Cinema Scope Nov 10, 2017 Full Review Little Wing (2016) 78% “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 Nov 10, 2017 Full Review Gaza Surf Club (2016) 83% “Gaza Surf Club is Disney masquerading as "documentary."” – Cinema Scope Nov 10, 2017 Full Review Prank (2016) “The film, very deliberately, is itself a prank.” – Cinema Scope Nov 10, 2017 Full Review The Limehouse Golem (2016) 74% “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 Nov 10, 2017 Full Review
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