This is an often-repeated piece of advice among many that jointly caring for a dog after a breakup is a recipe for trouble. Most will argue such situations prevent former couples from moving forward, create logistical nightmares, fuel disputes, and are a nuisance for all parties. Seemingly, and in a twist suited to a direct-to-platform film, it reportedly leads to the dogs themselves to feel down.
Without minimizing the inner life of our pets – many owners observe their deep emotional capacity. For a masterclass in dog sorrow, one need only look recent cinema. It seems certain that a dog like Merv, a spirited little dog played by Gus the Dog, would have a hard time adjusting to divided living arrangements. If this concept a full holiday film on this conflict is sustainable seems rather doubtful.Standard Holiday Fare
Honestly, Merv, the work of Dane Clark and Linsey Stewart and helmed by Jessica Swale, never aspires to be anything more than a light film. It functions as a seasonal offering from a major tech-and-media conglomerate – the ambitions remains surface-level. Its storyline unfolds as simple and direct: former spouses Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their own sadness is matched by their dog's, decide on a uplifting getaway to a dog-friendly resort. At this location, predictably, they will surely stumble toward the idea that they should reunite. Side characters – featuring a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. Its aesthetic is reminiscent of a branded content, with a Christmas setting that is clearly manufactured – exemplified by obvious snow effects surrounding verdant foliage as North Carolina substitutes for a cold December city.
The Dog's Domain
If these standard ingredients coalesce into a pleasant experience hinges on the strength of the performances and the viewer's appetite for cinematic comfort food. On the latter point, Merv knows its audience – those people who scroll endlessly for cute animal clips. Audiences receive a wealth of canine-centric sequences. The main attraction is Merv himself, and though it results in some clunky cuts between the pet's "lines" and human reaction, the movie delivers on canine party antics, canine sorrow, and, finally, doggie joy.
Where It Wobbles
Such effectiveness cannot be applied for the romantic plot. The tone vacillates between emotional depth, zany antics, formulaic romance, and silly gags, not quite landing any one mode. No blame falls on Cox's performance, who is admirably committed the absurd and awkward demanded of the bizarre setting. Cox exhibits a endearing lack of ego that supplies much of the film's charm for this seemingly ideal couple. Her co-star Deschanel, in her typical fashion, injects a certain millennial quirkiness that will click for some but not others. Her Anna can feel a bit too dry, particularly when contrasted against Cox's heartfelt sincerity. (It should be noted, Gus the Dog is convincing at acting depressed – he may not be the award-winner from Anatomy of a Fall, he's definitely an excellent dog.)
Merv tries to add substance to Anna and Russ's relationship for scenes without their pet – a regrettable choice, given that the dog is easily the best part of this film designed for charm. Expectedly, it meets the bare minimum. The reason for their separation might seem more adult and realistic with more screen time and fewer direct statements. In the end, Merv is gentle and pleasant, meeting every expected note. Making a film on this shared-custody premise isn't a bad idea – though it's hardly a stroke of genius.
- Merv premieres on the Amazon platform this December.
