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VOGUE LIVING
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STILETTO
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CARAS
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ME MAGAZINE
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SLATE
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LONDON EVENING STANDARD
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24x7
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ANTHEM
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"Sean Gullette's performance, as the mathematics genius,
deserves Oscar consideration." --Michael Blowen, The Boston Globe
"Central thesp Gullette pulls off the near-impossible task of sustaining
an internalized, ever-cranking-upward tension throughout...recalls the
young John Casale..." --Daily Variety
"An actor of formidable resources and concentration." --The Los Angeles
Times
"Gullette holds the screen authoritatively..." --The Chicago Tribune
"Gullette turns in a performance that is nothing if not electric."
--Philadelphia Enquirer
"...Gullette is a math whiz who's obsessively hunting for a pattern in
the stock market...it's all very intense, and ever more dismaying as it
becomes clear that what we are witnessing is less a mathematical
breakthrough than a mental breakdown..." --People magazine
"...a visionary recluse, played persuasively by Sean Gullette...when Max
shaves his head and marks with dotted lines the exact lobe where the
secret burns, and places a power drill to his skull and flips on the
switch, it's not to fill his brain but to empty it. This movie is what
pours out, like shimmering celluloid, or the burned scar tissue of a
malevolent sunlight..." --SPIN
"Sean Gullette, who also co-wrote the film, plays Max so convincingly that
when he begins trembling at another imminent migraine attack, you feel
like it's coming your way too." ---- BBC
"dead on performance by Sean Gullette..." -- Film Society of Lincoln Center
"Gullette is a combination of John Turturro and Ben Kingsley,
and is superb portraying someone dangling above the abyss, one moment controlled, the next, explosive."
--- Columbus Film
"Sean Gullette plays Max beautifully, portraying the mathematician on the edge in the
eyes rather than the body. Sean has the added advantage of looking perfectly docile
in one scene and completely rabid in the next." ---- File
"Sean Gullette, turning in a particularly unpleasant performance
as Marion's psychiatrist..."----Stranger Things Magazine
"...the multi-talented Sean Gullette." --Newsweek
"...Feeding is an integral metaphor in Requiem for a Dream. The few
scenes in which people actually eat are uniformly off-putting (Sean
Gullette as Arnold, Marion's sometime therapist and occasional
sex-for-money partner, cannibalistically tearing at his steak especially
so) and each of the characters share a need to be filled up, fed and
sated..."----Megan Ratner, Sense of Cinema
"A long overdue shot of genuine intellectual gravitas...Gullette is
perfectly cast..." --Time Out New York
"An ambitious thrust...staggeringly powerful..." --the Hollywood
Reporter
"Gullette's exhausted, possessed eyes expose all the character's vulnerability and nearly involuntary
drive. He is at the center of every scene -- in fact he spends most of
the film alone in his makeshift laboratory of an apartment,
littered with old computer parts knocked together into a
jumble of wires, screens and keyboards. Even when other
characters are on the screen -- well-meaning neighbors trying
to bring him out of his shell, representatives of the sect or the
brokers -- our eyes never leave his." -- Rob Blackwelder, Spliced Wire
"Sean Gullette is hypnotic..." --Jeff Craig, Sixty Second Preview
"...sleepless and disheveled, yet feverishly wide-awake, he skulks with
demonic purpose...his name is Max Cohen (Sean Gullette)...a cybergeek
version of Taxi Driver..." --Entertaiment Weekly
"Sean Gullette (whose contribution to the story shows in his total
commitment to the role of Max) is an actor of eerie intensity..." --New
York Law Journal
"Gullette makes Max a fascinating character study and carries the film, rather like
Geoffrey Rush carried Shine." ---- Urban Cinefile
"Gullette immerses himself in this eccentric role..." --Cover
"The acting here is truly expectional, most notably Sean Gullette as Max
Cohen. He is a dynamic force that adds yet another level of intensity to
the story. It's obvious he knows this character and has lived inside his
skin. For all his ticks and peculiarities...Gullette instills a sense of
the "every man" into the role that allows him to guide us through Max's
obsessions into the realm of insanity." --World of Fandom
"In one area, Pi knows no peer...this film boasts the best depiction of
migraines I've ever seen...after Max's first two attackes I was duly
impressed, but by the fifth and sixth I was feeling a bit shaky myself.
Sure enough the next day I was felled by my own migraine..." --Salon
"With much of the action focused on Gullette, who offers a marvellously
intense performance as a man increasingly caught in his own web of
chaos, p is a visceral viewing experience...it's a film that lingers
visually in your mind with a nightmarish quality to it. Needless to say,
both Aronofsky and Gullette - along with sublime cinematographer Matthew
Libatique - are people whose careers must be followed closely." --Film
Week, UK
"...because Max is antisocial, cranky, and going steadily crazy, he
could easily be offputting, but Sean Gullette doesn't just go for the
easy beats. He counterpoints Max's ever present tension with an air of
resignation, as though this man has learned from hard experience that no
one is ever really going to listen to him.
In the scenes with Mark Margolis' Sol, Gulllette subtly alters his
attitude, replacing resignation with the impatience of a small child
challenging a beloved parent. He lets Max become loud and urgent because
he feels Sol is the only person who has a clue what he's talking
about--if he's going to make himself understood by another human being.
The character feels it's now or never. Gullette plays the scenes as
though Max is almost conscious of the nonverbal demands he's making on
Sol, whom Margolis adeptly portrays with a combination of avuncular
fondness, caginess and dread of his own.
The two actors establish a rhythm between them that lets us instantly
accept them as people who have been arguing and inspiring one another
for years. Gullette makes Max brisk and subdued in dealing with all
others: he wants to get them out of the way. We know the character is
becoming interested in the numerical underpinnings of the Kabballah, a
sacred and mystical jewish text, because he finally begins to speak in a
normal cadence when discussing it." -- Backstage West
"Gullette's Max is a nouveau underdog." --HX magazine
"...Gullette has the petrified intensity of the late John Cazale..." --The Express, London
"Gullette, who acts like he's in an Eisenstein silent movie, is a vastly
more convincing maths genius than Matt Damon in Good Will Hunting." --The Guardian, London
"...Gullette's splendidly focused performance..." --Paris Voice
"Unnerving" --Fangoria
"I found the acting exciting and adventurous." - Rod Steiger [on Artifacts]
"...builds with disarmingly offhand humor to a point of savage revelation and then onwards into genuine compassion."
- Bret Easton Ellis [on Artifacts]
"Sean Gullette is really funny in 'Happy Accidents'." -- joeythefilmgeek.com
"...in "Requiem for a Dream," Gullette is Arnold, the dirty old shrink, and I must say he played
the part well. I was thoroughly disgusted."-- Electronic Whore
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