Vanthaan Vendraan

Vanthaan Vendraan

Vanthaan Vendraan (Tamil: வந்தான் வென்றான்; English: He Came He Won) is an upcoming Indian Tamil crime-thriller film, written and directed by R. Kannan that stars Jeeva, Nandha and Taapsee Pannu in lead roles. Principal photography began on August 27, 2010,[1] and the film is expected to release in 2011.[2]

Arjun was ordered by her girl friend that she would marry him only if he convinces a suave don to surrender to police. . You can read more in Google, Youtube, Wiki

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Vanthaan Vendraan torrent reviews

Gabriel C (jp) wrote: A refreshingly earnest YA romance film that is less contrived and more realistic than recent films of this genre.

Krystof B (es) wrote: After visiting Israel and experiencing the tension between the two nations, this movie was a stark reminder of what religion, politics and simple hate can do to people. A beautiful love story.

Jesse O (ca) wrote: Not as terrible a movie as was to be expected considering that all it is is a series of worsening gross-out skits. Do not come into this movie expecting anything more than a dudebro film with a lot of raunchiness attached to it. There's not much of a story, none whatsoever to speak of, other than David's parents having died and him wanting to be part of a family, even though he hasn't realized that his 'bros' have been his family all along. That's essentially all there is to the film's narrative. Minimal stuff honestly and it's not like they play it up throughout the entire film, just bits and pieces near the end of it. Dick jokes? Check. Shit jokes? Check. Misunderstandings with drug dealers? Check. Gay jokes? Check. Australian stereotypes? Check. Culture clashes? Check. Something nearing animal cruelty that's played for laughs? Check. Please stop me if you've seen any one of these things more than once. It is ever R-rated raunchy comedy that you've ever seen. It's not worse than the worst one, not by a country mile, but it obviously isn't any good. It has its moments, like almost every bad film has. but those don't amount to nearly enough to make the film good. The problem is that, much like these films, it's honestly a series of skits completely unrelated to the wedding that's going all around them. They try to convince you otherwise, but you know what's really going down. You could take all the gross-out skits, put them into a video compilation, without the context of the "story" and it would be the same exact movie we got WITH the context of the story and the characters. And that's fine, but don't be surprised when people don't really find your film all that good. That's why I think films like Superbad, or even This Is The End, work in a dual fashion. You actually get some well thought-out raunch, you also do get some surprising character development about friendship and the connection you have to these people that, in some cases, you've grown up with your entire lives. This film copies the raunchier aspects but negates copying the most important thing and that is the heart. As I mentioned, it's not like I thought that this was awful, or even close to the worst film I've ever seen, but it's just an exercise in laziness and I just don't care for that. Much like Barbecue, it's the type of film that's more fun to shoot than it is to watch. It's even more pronounced here than it ever was in Barbecue. Can't exactly recommend it, but there's worse stuff out there.

Carlos I (au) wrote: Pretty weak sauce. A by-the-numbers ghost flick that fails to deliver any real scares and lacks any kind of logic in the storytelling. Seriously, the "science" presented is ridiculous.

James B (us) wrote: And to Fox had canceled this show once before. Now they pay through the noise for it. Lmao

Alice C (kr) wrote: very great and entertaining kids classic,not as good as the first two,But i still liked it.

Heather C (ru) wrote: I'm an extra in this movie!

Casey C (us) wrote: Amazing cinematography and great use of the landscape. Another visually interesting movie by Terrence Malick that has more of a plot line to follow.

Antonius B (us) wrote: Made just one year after WWII ended, Kurosawa's 'No Regrets For Our Youth' explores the lesser-known part of Japan that protested against rising militarism in the 1930's, as well as acknowledges Japan's mistake for having chosen a path that led to such a devastating war, and for that it's a fascinating and important film. It also has an interesting story of a love triangle in which a young woman (Yukie Yagihara, played by Setsuko Hara) is pursued by two young men (Noge and Itokawa), whose personalities are established in the film's opening scene. They're all crossing a creek on stepping stones, and she needs help at the end. Both offer their hands. Noge then strides over confidently and picks her up, carrying her across with her legs flapping, to the annoyance of the conservative Itokawa. They all then run off up a hill together, carefree youth that they are. However, it's 1933, and with Japan's militarism on the rise, their world is about to change. The students protest for freedom, but their movement is crushed, and they must decide whether to continue on with it or conform. Itokawa chooses the latter path; Noge the former. The safe route for Yukie is with Itokawa, but she's drawn to Noge. As she puts to Itokawa while walking with him at night in a fantastic scene, "If I follow you, my life will be peaceful. But...if I may say so...it'll be boring. If I follow him [Noge] something dazzling will await me. My life will be stormy. It terrifies me and fascinates me."Setsuko Hara showed outstanding range in the film, and turned in a great performance. As Noge is possibly leaving her for years, or forever, Kurosawa shows her standing behind a door, torn by rising emotions. She simply can't remain on a conventional path, as she says to her father "Now I feel my life is meaningless - I want to go out into the world and see what it's like to live." She later will have several great scenes on her in-laws' farm, enduring backbreaking labor planting rice, and having to resolutely stand up to people there who insult and shame her for her association with Noge. Kurosawa is a master at letting his actors wordlessly communicate with their faces, and does so brilliantly in a scene when various villagers stare at her. Through it all, she knows that she chose wisely, and recalling Noge's words "No regrets in my life, no regrets whatsoever" gives her strength.Indeed she has no regrets, and this is the title of the film, but it's clear that Kurosawa has regrets for his country's actions, which is the film's irony. It's stirring at the end with messages of individuality and freedom, which are powerful but feel a little over the top, possibly the reflecting script alterations Kurosawa was not happy with, or the oversight and influence of the occupation American censors. I believe a good portion of it, however, was Kurosawa trying to process the shame and humiliation of the war, find something positive, and point to the future, one in which there is a need to at least sometimes think as individuals in order to remain free. One year after the war, Kurosawa essentially admits the country was wrong, something that Japanese officials would struggle with in various forms for decades afterwards. "I look forward to seeing more Noge's in the future, rising from this assembly of young, hopeful students," says the professor at the end, the pain and shame on a couple of faces in the crowd. "You must fight for freedom, and there will be torture and sacrifice in the struggle," he had told Yukie earlier. Artistically these messages feel a bit forced, and yet, we have to admire Kurosawa's courage, and are grateful that such an excellent filmmaker gave us this window into the Japanese psyche in 1946.

William W (it) wrote: Clark Gable has outstanding rapport both with Claudette Colbert, whom he was with in It Happened One Night, and Spencer Tracy, whom he had acted with before in the disaster flick San Francisco, in this fine film which would make an excellent double-bill with There Will Be Blood, for the price of being a prospector of black gold in early 20th-century America. Very enjoyable and thoroughly recommended.

Graeme B (br) wrote: A good movie many will not like due to it's confusing plot. But, as confusing as it may be, this was a movie dealing with the difference between what we truly need as human beings and what we often believe we need...and that is important.

Brian P (us) wrote: Extremely boring. Do not bother watching, absolute waste of time.