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Sorry to say it, but reverb A and B in Cubase are absolutely horrific. I guess they put them in as a measure to have reverb plugins, but they are absolutely not of good quality.
Now for good quality ones. Let it be known that reverb quality is proportional to processing power. So, basically, very good software reverbs will rarely sound as good as even mediocre hardware units. But, there are some software reverbs that can handle their own (compared to reverb A and B they even are great  ).
http://www.smartelectronix.com/~magnus/ , was once a complete free reverb. Now it has a GUI, and it presents you with a nag screen, but is completely functional. It's donation ware, so you decide what it's worth.
http://www.spinaudio.com/ has an excellent reverb called Roomverb (M2 is the better).
Of course the Waves reverb are pretty good too, but expensive.
Another point of view should be had on convolution reverbs. Basically you sample the "reverb response" of a room (or a hardware reverb!) with an impulse, and with that sample it can recreate that space afterwards (after an intensive process of deconvolution). Can create superb reverbs with that, BUT either they induce a huge latency, or they are VERY cpu intensive. Altiverb was the software reverb that started the revolution (although Sony and Yamaha already had such hardware units).
The most famous is probably : http://www.knufinke.de/sir/index_en.html , as it's completely free. But there is still a latency connected to it (it has been reduced to 8960 samples now).
Waves has released a new one called IR-1, and Voxengo has a really good one (Pristine Space) that almost work realtime. They come with some excellent presets. You can make your own, and you can find lots of good impulses on http://www.noisevault.com/ . Those can be used, with a little bit of work, on most convolution reverbs. Imagine having the might Lexicon 480L at your disposal...
About the damping/cut filters on the reverbs, it's a little special.
There are three main things you can do. Either you EQ the send to the reverb (so, if a signal without much high freqs comes into the reverb, the reverb cannot have much high frequencies either). Or you can EQ the reverb effect.
The damping (in well written effects) won't really be a EQ, but more of a change in the algorithm of the effect. It will simulate the different surfaces that you can encounter in rooms. A church with stone walls will sound much more bright than a room with carpet on the walls for example. Usually damping sounds more natural than plain EQ'ing (although cheap effects use a damping factor that's just an EQ). But everything is possible, like always the result is what counts.
But the two main uses are, like Cheggy said, the lowcut/lo damping/high pass. That you will use to reduce the boominess of the reverb, more likely to muddy your mix.
The other setting, high cut/hi damping/low pass, is to simulate the loss of high frequencies (duh) due to distance or surface material. You can use it if the reverb sounds too metallic or too bright (like for instance, put reverb on a singer, and his "s'es" will jump out, reducing that sybilance is with the hi damping).
So basically, you'll put a reverb on that has it's decay (and predelay if you want to be exact) related to the tempo. If you find it starts to sound too bright, or too muddy, but you still have the feeling that you need this amount of reverb to have cohesion, try adjusting the damping settings (or EQ the send or effect). If it doesn't work yet, either you chose the wrong type of reverb algo, or you don't know what you're doing . But basically, you want to treat your reverb as any other instrument in the mix. Give it's own space. It must add something to your mix, without actually degrading it (a general advice in mixing, if it doesn't add to your mix, leave it out...).
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