It is an often-repeated piece of advice in certain circles that jointly caring for a dog post-separation is a recipe for trouble. Experts frequently claim such arrangements hinder former couples from moving forward, create logistical nightmares, fuel disputes, and are a nuisance for everyone involved. Apparently, as a development suited to a direct-to-platform film, it also makes our furry friends to feel down.
While respecting the mental health of animals – pet parents observe their remarkable empathy. For a prime example in canine melancholy, simply recall a past film. There is little doubt that a dog like Merv, a spirited little dog portrayed by a talented dog named Gus, would find it difficult coping with life in two homes. The idea of basing a feature-length romcom on this conflict holds water seems rather doubtful.Standard Holiday Fare
Fairness demands noting, Merv, crafted by the writing duo and under the guidance of director Swale, never aspires to be more profound than its premise. This is a holiday release from a major tech-and-media conglomerate – the ambitions are modest. The plot unfolds as uncomplicated: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is matched by their dog's, embark on a uplifting getaway to a canine-centric retreat. Once there, as expected, they will surely realize the idea that they should reunite. The supporting cast – featuring familiar faces – are crafted as eccentric, underutilized, or over-the-top. Visually carries the feel of a branded content, with a Christmas setting that is clearly manufactured – as seen in flurries piled on verdant foliage as North Carolina substitutes for the Northeast.
Where the Film Shines
If these standard ingredients come together into a pleasant experience hinges on the actors' work and the viewer's appetite for easy entertainment. For the comfort factor, Merv targets a specific viewer – those people who browse regularly for cute animal clips. It provides a wealth of canine-centric sequences. The central draw is the dog, and even if it causes some clunky cuts between the pet's "lines" and the actors' responses, the movie delivers on walking sequences, canine sorrow, and, in the end, doggie joy.
The Human Element
This level of success cannot be applied for the romantic plot. The tone shifts uneasily between relationship drama, zany antics, predictable love story, and physical comedy, not quite landing a consistent feel. This is not Cox's performance, who is willing to embrace the absurd and awkward required by the dog resort scenario. His performance contains a likable self-deprecation that provides much of the film's charm for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, imparts a distinctive offbeat energy that will be to your taste or not. Her Anna seems a touch too detached, particularly when contrasted against Cox's heartfelt sincerity. (It should be noted, the canine performer succeeds in acting depressed – he may not be a canine thespian of that caliber, he's definitely a very good boy.)
Merv tries to add substance to the central romance for sequences focusing solely on them – a regrettable choice, since the dog is undoubtedly the most adorable aspect of this feel-good picture. Expectedly, it achieves only baseline competence. The catalyst for their original breakup could have been more adult and realistic with more screen time and more subtle storytelling. In the end, Merv is light and sugary, meeting precisely what you anticipate. Crafting a story on this shared-custody premise has potential – even if it's hardly a great one either.
- Merv streams on Amazon Prime Video this December.
