This is a widely held belief in certain circles that jointly caring for a dog following a split is a recipe for trouble. The consensus suggests such setups prevent individuals from moving forward, cause practical headaches, lead to tension, and become annoying across the board. As it turns out, and in a twist fit for a direct-to-platform film, it can even cause the canine in question to experience sadness.
While respecting the inner life of our pets – many owners attest to their deep emotional capacity. For a masterclass in canine melancholy, simply recall a past film. I firmly believe that a dog such as Merv, a spirited little dog played by Gus the Dog, would have a hard time adapting to divided living arrangements. The idea of basing a feature-length romcom around this situation is sustainable remains debatable at best.A Familiar Formula
Fairness demands noting, Merv, the work of Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, never aspires to be more profound than its premise. This is a seasonal offering from a major tech-and-media conglomerate – the ambitions is limited. Its storyline proves to be simple and direct: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their own sadness is surpassed by their dog's, embark on a therapeutic trip to a canine-centric retreat. Once there, as expected, they will presumably rediscover the idea that they should reunite. The supporting cast – including familiar faces – are crafted as quirky, thinly written, or broadly comic. Its aesthetic has the quality of a branded content, with a Christmas setting that is obviously artificial – exemplified by obvious snow effects surrounding lush pines as North Carolina stands in for the Northeast.
Where the Film Shines
How these predictable parts come together into a pleasant experience depends on the strength of the performances and an acceptance of cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – the kind who scroll endlessly for pet content. Audiences receive a series of scenes focused on the pet. The primary selling point is the dog, and while this leads to some awkward editing between animal action and the actors' responses, the movie succeeds in showing walking sequences, dog depression, and, in the end, pure puppy happiness.
Where It Wobbles
This level of success is not earned for the romantic plot. Its style vacillates between emotional depth, zany antics, standard rom-com beats, and outright slapstick, not quite landing a consistent feel. The fault lies not with Cox's performance, who is admirably committed the absurd and awkward inherent in the dog resort scenario. Cox exhibits a charming humility that provides a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, in her typical fashion, imparts a distinctive offbeat energy that will be to your taste or not. The character can feel a touch too detached, notably when alongside Cox's genuine sadness. (It should be noted, Gus the Dog manages acting depressed – he may not be a canine thespian of that caliber, he is still an excellent dog.)
The film attempts to add substance to the couple's history for sequences focusing solely on them – a bit of a pity, since the dog is easily the most adorable aspect of this cute-aiming movie. Expectedly, it just about gets by. The catalyst for the split might seem more nuanced with less exposition and less blunt explanation. In the end, Merv is light and sugary, meeting all its marks. Creating a movie on this shared-custody premise is not terrible – though I wouldn't call it a stroke of genius.
- Merv becomes available on the Amazon platform this December.
