Always one for helping the course of true love, college student Chandu decides to steal away a friend's sweetheart from her unwanted arranged marriage. But instead of reuniting the lovers, Chandu abducts the wrong bride! However, this bride, Pooja, is grateful for the mix-up as she was already planning her own escape. On the run, the pair fall in love. But to take Pooja's hand in marriage, Chandu will first have to win over her family, which is made up of two feuding uncles and their clans...
- Stars:Ram, Genelia D'Souza, Nasser, Brahmanandam, Suneel, M.S. Narayana, Satya Krishnan, Sudha, Navdeep, Tamannaah Bhatia, Annie, Balaiah, Tanikella Bharani, Master Bharath, Chandramohan,
- Director:Sreenu Vaitla,
- Writer:Gopimohan (story)
A case of mistaken identity leads a college student to abduct a young woman from her wedding ceremony. . You can read more in Google, Youtube, Wiki
Ready torrent reviews
(au) wrote: A most beautiful story, cried all the way through it.
(ag) wrote: Pretty funny loved the cast.
(gb) wrote: I saw Invicible last week and now this one and both are true story movies about football. The Rock fits quite great as the coach in this drama/sport movie with a bit of gangsta style. Nice film !
(fr) wrote: My friend Dylan let us borrow this film. We had heard a few things about it, and were interested to see Jonathan Taylor Thomas as a street hustler. The problem with that is...well, his voice hasn't changed since he was Simba in [i]The Lion King[/i]. Even when he's swearing a stream, it sounds wholesome. The film follows Johnny's (Jesse Bradford playing 18 when he's WHAT? 30!!) quest to be a racecar driver. From the way this plot evolves, it seems that his only real experience with race cars involves video games, so I'm not sure where he thinks he's going to find practical experience with racing in Vegas. The only light in this bleak, poorly written, over-acted crapfest is Jordan Brower (Eric). He was the best thing in this film, and it should have been his story that we were listening to. He seemed to be the only interesting character in the entire film. Jonathan Taylor Thomas was only in the film briefly. I think he was only hired for the curiosity factor. I expected a lot more from a film exec produced by Gus Van Sant, but it is just a Tiger Beat version of [i]My Own Private Idaho[/i]. It's unfortunate that Gus had to get himself involved in this mess. The friendship between Johnny (straight) and Eric (gay) seems contrived. Jordan Brower does his best, but it's unbelievably that Johnny Homophobe all of a sudden is ok with his new gay friend. The movie could at least have the decency to be comfortable with its subject matter before it tries, unsuccessfully, to explain it to others. -Heather
(mx) wrote: Reminder of how it was when I went to school in the south
(ru) wrote: adapted from Ira Levin's 1991 bestseller, adapted here by Joe Eszterhas (alarm bells ringing), and directed by Phillip Noyce (Dead Calm (1989), Patriot Games (1992) and Clear and Present Danger (1994)), this is a dirty little film that opened to much hype upon release. It should have been a good erotic thriller, but most of it comes across as being more dull than interesting, pity really, as it had potential. Set in New York City, it starts when book editor Carly Norris (Sharon Stone) moves into an exclusive and fancy apartment block, known as a sliver building. She's moved in not long after one of it's tenants Naomi Singer (Allison Mackie) fell to her death from a balcony. Naomi's death has left a sad mood across the building. Carly becomes friends with Zeke Hawkins (William Baldwin), who becomes her gym partner and then lover. Carly then meets another tenant, Jack Landsford (Tom Berenger), a successful novelist who also takes a fancy to Carly. But, Carly discovers Jack has a secret, and that Zeke has an even bigger one. This film is not the "delightful romp" that Mr. Burns off The Simpsons makes it out to be. :P It's a sensationalist film that gave audiences the chance to see Stone get 'em off again. It promises so much, but a lot of it was cut out after director Noyce and Paramount clashed with the MPAA, who originally slapped it with an NC-17, so most of it was refilmed. But it was made at a time when Eszterhas was a hot screenwriter, and then he made Showgirls... :P
(ag) wrote: The filmmaker's obsession with water gets irritating after awhile. This is a not so frightening horror movie, predictable and rather muddled. It does have some eerie scenes, but there is not enough substance in this film to make it work.
(mx) wrote: Laputa: Great story, great animation, wonderful characters. Didactic ending, though. I was very impressed - I didn't expect to like it as much as I did. I was expecting something alot different. Miyazaki came up with something better. Bebop: FANTASTIC animation! I just adored the style of this film. Plus, I thought that the story was quite interesting - it made Mars seem so much like Earth. Vincent is an oddly sympathetic scumbag. Also, the film makes interesting use of the dangers of hallucinagenics and explores the effects that intense existential confusion can have on one's waking life. Akira: I don't know what this crap about it having a hard to follow (or bad) story is. Of course the story isn't as great as the collosally good animation, but it's no slacker, either. I thought that the romantic development was charming, and the climax was genuinely thrilling. Pretty rich film. And that music!!! The Bride Wore Black This film is Truffaut's homage to Hitchcock, much like Tarantino honored Kung-Fu in Kill Bill. I think that Tarantino's homage works better for one simple reason: while Tarantino is more interested in film than he is in life, I think that Truffaut is more interested in life than film. This means that Tarantino's film feels more committed to the project, more focused. Truffaut's homage isn't what Truffaut should be using his talent to doing, you know? The homage to hitchcock doesn't invigorate like Tarantino's does. However, this difference swings both ways: Truffaut's interest in life translates into his ability to create films with characters more emotionally real than anything in a Tarantino film. Yes, Tarantino can make a better homage - but Truffaut still makes the better film. Lilith Here's another plodding film for all you lovers of L'Avventura and Woman in the Dunes out there. Ever so slightly less plodding than those two, I think, because it does have a few scenes of some kineticism. This is probably the most sober film about insanity and the world of human imagination ever made. The great (photography, acting, script) outweighs the terrible (the editing, the use of music) and the only slightly above average direction. Still, it has much to offer a viewer who is interested in religion, J. Campbell, and imagination. Just have some coffee, in case. Also, the ending was silly.
(au) wrote: Realistic and can't say anything negative about this movie,This is a game of seeing the tomato meter and people have to find the hidden problem, This Game is hard, I Give up!I'm not playing this game anymore i wanna review this movie, Antonio Banderas is a funny actor who he does serious in this movie and was completely apart from the robots that are like the movies Ex Machina, Robots, District 9, Avatar, Pacific Rim, Transformers, Robot Overloads and I Robot.This film does the interest in most bad films.Score: 7/10
(nl) wrote: Not bad but so far I have to say reliving the Disney classics is not the magical experience you'd expect. The basic ugly duckling storyline is good here and my son was really engaged in the first half. The second half (apart from the whole learning to fly bit) is basically drivel. Embarrassing black caricature crows and a whole trippy pink elephant sequence which I'm sure was far out when you were smoking weed for the first time in the 40's but is now I'm sorry just dull.
(us) wrote: a casual fun loving and simple feel good movie that is carried home by the comedy gold of Kevin Hart.
(mx) wrote: White Dog (Samuel Fuller, 1982)There a number of directors who have become canonical over the years whose films I have simply never gotten. Woody Allen. Mario Bava. Sam Fuller. Every time I dig into a Fuller movie I try and see what it is that sets him apart, and every time I fail. My most recent attempt was with the 1982 racism melodrama White Dog, and I think that perhaps I've figured out what the canon sees in him. I still didn't get to the "all that and a bag of racists" point with this one, but it's starting to make sense. The thing about Sam Fuller's strain of melodrama, if I'm right in my hypothesizing, is that in movies like Shock Corridor and Pickup on South Street, both of which left me kind of cold, Fuller was doing that gig first; Douglas Sirk and Grace Metalious and Russ Meyer and all that lot would come after and hone the genre, so that when Fuller returned to the fold in the eighties, he not only had his own base to work from, he had everyone else's, too. And I think that, more than anything, may be what impressed me about White Dog: Fuller wasn't afraid to build on the work of others, rather than focusing obsessively upon his own corpus.Plot: Julie Sawyer (Little Darlings' Kristy McNichol) finds what she believes to be a stray dog. Very attractive beast, if a little scraggly, so she takes him home, shows him a little TLC, and everything seems great-until all the sudden he attacks someone out of nowhere while she's walking him. Eventually, a pattern of behavior is established, and she comes to realize that he's not called a "white dog" because of the color of his coat-this is a dog who has been trained to attack black people. Believing that this behavior can be unlearned, she enlists the help of Hollywood animal trainer Keys (Terminator's late, great Paul Winfield) in retraining him. Keys, upon finding out (firsthand) the dog's conditioning, is reluctant to accept the job, but eventually becomes as obsessed as Julie with the idea that racism can be cured.These days, in hindsight, when we think of Kristy McNichol, we think about her memoir and the horrible things that happened to her and, tangentially at best, Empty Nest. She didn't make a huge number of features over the course of her career, and Two Moon Junction was a horrible choice for everyone involved, but if you go back farther than that, McNichol was very good at what she did. Pair her with a guy like Winfield, who could take a dead guy on a table and give a compelling performance, and you've got some bones to hang a movie on. A maudlin movie to be sure, nakedly manipulative and full of the kinds of characters who have all the depth of a Phoenix snowstorm, but every once in a while there are good guys, there are bad guys, and we're not supposed to disagree. Fuller's got himself a ready-made villain-I mean, who trains a dog to attack black people?-and from there, your hero being a black dog trainer is obvious. That their characters have all the shade of a Joshua tree is kind of irrelevant.Not a bad little movie at all; my favorite of the Fullers I've seen by a pretty wide margin. Expect something closer to a disease-of-the-week TV movie than Kurosawa and you'll have a grand time with it. *** 1/2