It is a common warning among many that jointly caring for a pet post-separation is a recipe for trouble. Most will argue such setups prevent former couples from finding closure, create logistical nightmares, fuel disputes, and prove frustrating across the board. As it turns out, and in a twist fit for a streaming movie, it also makes our furry friends to experience sadness.
Without minimizing the emotional well-being of our pets – countless people speak of their profound sensitivity. For a prime example in canine melancholy, one need only look a past film. It seems certain that a dog such as Merv, a wired-hair terrier mix brought to life by the canine actor Gus, would have a hard time coping with split households. The idea of basing a feature-length romcom on this conflict is sustainable seems a questionable prospect.Predictable Foundations
To its credit, Merv, crafted by Dane Clark and Linsey Stewart and helmed by director Swale, doesn't pretend to be anything more than its premise. It functions as a Christmas movie from a corporate studio – the depth are modest. The plot unfolds as simple and direct: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their individual funk is surpassed by their dog's, embark on a uplifting getaway to a canine-centric retreat. At this location, predictably, they will surely rediscover the idea that they are better together. Ensemble players – including a group of comedic actors – fulfill roles eccentric, underutilized, or over-the-top. The film's look has the quality of a streaming service original, with a Christmas setting that is visibly contrived – think flurries clinging to verdant foliage as North Carolina doubles as the Northeast.
The Dog's Domain
How these predictable parts come together into something enjoyable depends on the strength of the performances and an acceptance of cinematic comfort food. For the comfort factor, Merv targets a specific viewer – the kind who scroll endlessly for pet content. Audiences receive a wealth of canine-centric sequences. The primary selling point is the canine star, and even if it causes some awkward editing between the pet's "lines" and human reaction, the movie succeeds in showing walking sequences, pet moping, and, finally, doggie joy.
Where It Wobbles
Such effectiveness is not earned for the romantic plot. Its style shifts uneasily between serious study, broad humor, standard rom-com beats, and physical comedy, not quite landing a consistent feel. This is not Charlie Cox, who is fully game the silliness and cringe demanded of the bizarre setting. Cox exhibits a likable self-deprecation that provides the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, brings a distinctive offbeat energy that will either resonate with viewers. The character seems a touch too detached, notably when alongside Cox's heartfelt sincerity. (On another note, the canine performer manages flopping and whining – he may not be the award-winner from Anatomy of a Fall, he remains an excellent dog.)
Merv tries to give weight to Anna and Russ's relationship for moments when the dog is absent – which is unfortunate, given that the dog is undoubtedly the cutest element of this film designed for charm. As one might predict, it meets the bare minimum. The reason for the split might seem more adult and realistic with more screen time and less blunt explanation. In the end, Merv is gentle and pleasant, fulfilling precisely what you anticipate. Making a film about dog co-parenting has potential – though I wouldn't call it a brilliant concept.
- Merv becomes available on Amazon Prime Video this December.
