Age: 33
male
Lewis James Pullman is an American actor. A son of actor Bill Pullman, he began his acting career with the film The Ballad of Lefty Brown (2017), starring his father. His subsequent film credits include supporting roles in The Strangers: Prey at Night (2018), Bad Times at the El Royale (2018), Top Gun: Maverick (2022), and a starring role in Salem's Lot (2024). He plays Robert "Bob" Reynolds / Sentry / The Void in the Marvel Cinematic Universe, starting in Thunderbolts* (2025). On television, Pullman played Major Major Major Major in Catch-22 (2019) and starred in Outer Range (2022–2024) and Lessons in Chemistry (2023); for the latter, he was nominated for a Primetime Emmy Award and Critics' Choice TV Award. Description above from the Wikipedia article Lewis Pullman, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Lewis Pullman
Bob/Sentry
for Bob/Sentry in Fantastic Four: First Steps
Suggested by kingultron2
The Fantastic Four: First Steps (released July 25, 2025) reboot‑reintroduces Marvel’s First Family in an alternate, retro‑futuristic Earth‑828 inspired by 1960s aesthetics. Directed by Matt Shakman, the film skips the traditional origin story, presenting Reed Richards and Sue Storm as established heroes already expecting their first child, Franklin. Their team—including Ben Grimm (The Thing) and Johnny Storm (Human Torch)—must suddenly confront the cosmic threat of Galactus and his herald, Silver Surfer (Shalla‑Bal). The story mainly revolves around the family’s struggle to protect Earth by constructing massive teleportation “bridges” that could relocate the entire planet—and ultimately leveraging Franklin’s nascent reality‑warping powers to outwit the world‑devouring deity . Critics have praised the film’s vibrant production design, nostalgic tone, and strong performances—especially by Pedro Pascal (Reed), Vanessa Kirby (Sue), Ebon Moss‑Bachrach (Ben), and Joseph Quinn (Johnny)—but many fault it for its more serious, exposition‑heavy storytelling and minimal character arc development. Reviews note that humor and emotional nuance—hallmarks of previous Fantastic Four adaptations—are largely absent, creating a more somber, streamlined tone. Still, the retro‑futuristic visuals, Michael Giacchino’s score, and a hopeful message about family and unity elevate it as a “promising revitalization” of the franchise, even if it feels tonally uneven at times.
