It is an often-repeated piece of advice for numerous people that jointly caring for a pet following a split is a recipe for trouble. Experts frequently claim such setups prevent individuals from healing, create logistical nightmares, lead to tension, and prove frustrating across the board. Apparently, as a development fit for a streaming movie, it also makes the dogs themselves to experience sadness.
Without minimizing the emotional well-being of our pets – countless people attest to their remarkable empathy. To witness a masterclass in canine melancholy, one need only look recent cinema. I firmly believe that a dog like Merv, a scruffy terrier type portrayed by Gus the Dog, would have a hard time adjusting to split households. Whether this premise an entire Christmas romance on such a setup works effectively remains rather doubtful.Predictable Foundations
To its credit, Merv, crafted by Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, never aspires to be anything more than a light film. It functions as a holiday release from a streaming platform giant – the complexity are modest. Its storyline is destined to be uncomplicated: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their post-breakup gloom is matched by their dog's, decide on a uplifting getaway to a canine-centric retreat. There, inevitably, they will presumably stumble toward the idea that they belong with each other. Ensemble players – played by Chris Redd, Jasmine Mathews, and others – serve as the usual assortment of types. The film's look is reminiscent of a platform's in-house production, with a holiday backdrop that is clearly manufactured – think fake snow clinging to verdant foliage as a summer location substitutes for the Northeast.
The Dog's Domain
If these familiar elements coalesce into an entertaining watch rests upon the strength of the performances and one's taste for comfort viewing. On the latter point, Merv hones in on a demographic – the kind who scroll endlessly for cute animal clips. The film delivers a plethora of canine-centric sequences. The central draw is the dog, and even if it causes some clunky cuts between what the dog does and human reaction, the movie succeeds in showing walking sequences, dog depression, and, finally, pure puppy happiness.
Where It Wobbles
Such effectiveness cannot be applied for the interpersonal drama. The tone wavers between emotional depth, broad humor, standard rom-com beats, and silly gags, failing to master any one mode. The fault lies not with Cox's performance, who is admirably committed the humiliating and funny required by the bizarre setting. Cox exhibits a endearing lack of ego that supplies a significant portion of the appeal for this seemingly ideal couple. Her co-star Deschanel, true to her usual style, imparts a distinctive offbeat energy that will click for some but not others. The character seems a touch too detached, particularly when alongside Cox's heartfelt sincerity. (It should be noted, Gus the Dog manages flopping and whining – not quite a canine thespian of that caliber, he's definitely an excellent dog.)
The story strives to give weight to Anna and Russ's relationship for moments when the dog is absent – a bit of a pity, since Merv is by far the best part of this film designed for charm. As one might predict, it achieves only baseline competence. The catalyst for their original breakup could have been more adult and realistic with greater exploration and less blunt explanation. In the end, Merv is gentle and pleasant, meeting precisely what you anticipate. Making a film about dog co-parenting isn't a bad idea – but it's hardly a brilliant concept.
- Merv premieres on Amazon Prime Video this December.
