William H. Macy

  • "Bobby"

    Emilio Estevez clearly had good intentions in making this fictional drama about the assassination of Robert F. Kennedy.
  • The Fix

    Lauer defends Cruise. William H. Macy says Lohan and her ilk "should have their asses kicked." Plus: Jennifers Lopez and Garner, pregnant?
  • "Spartan"

    Val Kilmer delivers his lines like they're beat poetry in this thoroughly Mametized -- but not very thrilling -- search-and-rescue thriller.
  • "The Cooler"

    William H. Macy and Maria Bello shine in a terrific -- and surprisingly sexy -- tale of a Vegas loser whose luck begins to turn.
  • Hollywood goes down

    A spate of new films -- one with girl-next-door Meg Ryan -- depict graphic oral sex scenes. Is the film industry's portrayal of sexuality finally beginning to get real?
  • "Panic"

    William H. Macy's hit man commands a serious black comedy, a quiet thriller that's also an evocation of middle-aged disappointment.
  • "State and Main"

    Hollywood scheming: In David Mamet's delicious new ensemble comedy, the bastards win.
  • Blue Glow

    Salon's TV picks for Thursday, Dec. 21, 2000
  • Blue Glow

    Salon's TV picks for Tuesday, March 14, 2000
  • Blue Glow

    Salon's TV picks for Tuesday, Jan. 4, 2000
  • "Magnolia"

    Even with a stellar cast, director Paul Thomas Anderson's "Boogie Nights" follow-up flounders without a punchline.
  • Happy, Texas

    A cons-on-the-run caper gets its charm from witty, endearing performances and uncynical affection for its characters.
  • Blue Glow

    Salon's TV picks for
    Weekend, Sept. 17-19, 1999
  • "Mystery Men"

    This droopy action comedy saps Hollywood's best comic actors of their superpowers.
  • A Civil Action

    Director Steven Zaillian does author Jonathan Harr a great injustice with his reductionist film version of Harr's 'A Civil Action'.
  • Back in the shower again

    Gus Van Sant's retelling of a Hitchcock classic may not be anything new, but it's still just as shocking.
  • Exile in "Pleasantville"

    Director Gary Ross fetishizes the '50s in this high-concept parable about the dangers of conformity.

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