Raakh is the story of a common man out to avenge his lover’s(fleeting glimpses of Richa Chadha by way of a projector) brutal rape and murder. Ironically, the loss has led to a kind of a personal renaissance for the seemingly mild-mannered common man-turned-blood-thirsty killer as it happens ever so often in films dabbling with a similar premise. The battered and horribly bruised victim is nailed to a spiked structure in the middle of what looks like an abandoned warehouse. The floppy-haired killer, dressed in a crisp white shirt and thick glasses, approaches with a drill machine. Vir’s opening line sets the tone for the rest of the film with its awkward verbosity.Raakh quickly descends into the quicksand of overwriting, giving way to hammy dialogues and attention to the wrong details, even as it exhausts all the tropes of the genre. In the end, it strikes one as more amusing than frightening as the killer heats up the "last supper" in the microwave, launching into a monologue on how he’d kill his hostage and the rationale behind his chosen method.One can see why this would make for an intriguing idea on the storyboard.