PLEASURE DOME PRESENTS truth Wrapped in Trash and Vice Versa: George Kuchar at Sixty-Two Rating: NNNN
Imagine Tarnation if Jonathan Caouette were a grumpy middle-aged man with the delivery of Woody Allen and the sensibility of John Waters: suddenly it's a party. Of sorts, anyway.
George Kuchar videotapes the minutiae of his life, documenting his obsessions - death, digestion, the beauty of nature - with cinematic gusto and a dizzying array of hokey digital effects.
He seems to make his best art when he's lonely. The episodes in which he hangs out with his nubile young artist friends tend to blur into the reflexive monotone that's the pitfall of first-person art. But his best work, like 1987's Creeping Crimson, in which he visits his sick mother and looks at autumn leaves, and 2004's SuperCell, which has him sitting out a tornado with a doughnut in a gloomy Midwestern hotel room, combine hilarious dourness with grudging, self-conscious, melancholic beauty. (July 8, Cinecycle)