It is a widely held belief for numerous people that jointly caring for a dog post-separation is a recipe for trouble. Experts frequently claim such situations hinder former couples from finding closure, lead to scheduling chaos, lead to tension, and prove frustrating for everyone involved. As it turns out, as a development suited to a direct-to-platform film, it also makes the dogs themselves to feel down.
Not to downplay the inner life of our pets – countless people attest to their deep emotional capacity. For a standout portrayal in dog sorrow, consider recent cinema. I firmly believe that a dog like Merv, a spirited little dog brought to life by Gus the Dog, would have a hard time adapting to split households. The idea of basing a full holiday film around this situation works effectively is rather doubtful.Standard Holiday Fare
Fairness demands noting, Merv, crafted by its screenwriters and under the guidance of playwright Jessica Swale, doesn't pretend to be more profound than its premise. It functions as a holiday release from a corporate studio – the ambitions is limited. Its storyline unfolds as uncomplicated: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their post-breakup gloom is matched by their dog's, decide on a therapeutic trip to a canine-centric retreat. At this location, predictably, they will presumably stumble toward the idea that they are better together. Side characters – featuring a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. Its aesthetic carries the feel of a streaming service original, with a holiday backdrop that is visibly contrived – exemplified by fake snow piled on verdant foliage as North Carolina doubles as the Northeast.
The Dog's Domain
Whether these familiar elements merge into a pleasant experience rests upon the actors' work and one's taste for comfort viewing. On the latter point, Merv knows its audience – the kind who scroll endlessly for dog videos. It provides a plethora of canine-centric sequences. The central draw is the canine star, and even if it causes some stilted moments between the pet's "lines" and people's faces, the movie succeeds in showing dog beach fun, dog depression, and, in the end, a tail-wagging resolution.
Where It Wobbles
This level of success is not earned for the romantic plot. The tone vacillates between serious study, zany antics, standard rom-com beats, and outright slapstick, not quite landing any one mode. No blame falls on Cox's performance, who is fully game the silliness and cringe demanded of the dog resort scenario. His performance contains a charming humility that offers the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, in her typical fashion, brings a certain millennial quirkiness that will click for some but not others. The character seems a little too aloof, notably when alongside Cox's genuine sadness. (On another note, the canine performer manages acting depressed – while no a canine thespian of that caliber, he remains a scene-stealer.)
The film attempts to provide depth to the central romance for moments when the dog is absent – a bit of a pity, since Merv is by far the best part of this feel-good picture. Expectedly, it achieves only baseline competence. The reason for their separation might seem more adult and realistic with greater exploration and fewer direct statements. In the end, Merv is slight and sweet, hitting every expected note. Creating a movie on this shared-custody premise is not terrible – but I wouldn't call it a great one either.
- Merv premieres on the Amazon platform on December 10th.
