Unfortunately, ROKKK has a lacklustre start and a convenient finale, with the makers leaving scope for a sequel, if the film works. The film suffers due to inept writing, with several questions remaining unanswered till the end. No reasons are offered why Tansuhree marries a man much older to her, except a fleeting reference by Udita. No reasons are offered when Tanushree enquires about the circumstances that led to the death of Sachin Khedekar’s first wife. That’s not all, Tanushree even manages to escape from the asylum even though the spirit almost gets her. Now that’s difficult to gulp! But things do stabilise in the post-interval portions. The spirit now set her sights on Udita and the sequence in the elevator sets the ball rolling. Ditto for two more sequences – [i] Arif Zakaria wanting to free the mansion from the spirit and [ii] Ashwini Kalsekar’s story of how the blood-thirsty spirit came into being. With the film holding your attention in the second hour, you expect the finale to reach its zenith, but it does an about-turn and touches the ebb. Tanushree’s re-emergence on the scene is formulaic and ruins the impact. If the writing is patchy, the effects are tacky and the background score relies on the same sounds that one has come to expect from horror films. Both Tanushree and Udita try to make the proceedings watchable. Udita is efficient, while Tanushree uses her eyes effectively to express fear. Shaad Randhawa is decent. Sachin Khedekar is okay. Ashwini Kalsekar is the best of the lot. Murli Sharma and Nishigandha Wad don’t get much scope. Arif Zakaria is perfect.
On the whole, ROKKK is ordinary at best!