It is a widely held belief in certain circles that jointly caring for a canine companion post-separation is a terrible idea. Most will argue such situations prevent former couples from finding closure, lead to scheduling chaos, spark arguments, and prove frustrating for all parties. Seemingly, as a development suited to a direct-to-platform film, it can even cause our furry friends to become depressed.
While respecting the emotional well-being of dogs – countless people speak of their deep emotional capacity. To witness a prime example in canine melancholy, consider recent cinema. There is little doubt that a dog such as Merv, a wired-hair terrier mix played by Gus the Dog, would find it difficult adjusting to life in two homes. The idea of basing a feature-length romcom on such a setup is sustainable remains debatable at best.Standard Holiday Fare
Fairness demands noting, Merv, crafted by Dane Clark and Linsey Stewart and helmed by director Swale, never aspires to be deeper than its premise. This is a holiday release from a corporate studio – the ambitions are modest. The narrative proves to be uncomplicated: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their post-breakup gloom is matched by their dog's, take a therapeutic trip to a luxury pet hotel. Once there, as expected, they will surely rediscover the idea that they are better together. Ensemble players – including familiar faces – serve as quirky, thinly written, or broadly comic. The film's look carries the feel of a platform's in-house production, with a wintry atmosphere that is clearly manufactured – as seen in fake snow piled on lush pines as North Carolina substitutes for a cold December city.
The Dog's Domain
Whether these predictable parts merge into an entertaining watch rests upon the strength of the performances and one's taste for cinematic comfort food. Regarding the second aspect, Merv knows its audience – individuals who browse regularly for cute animal clips. It provides a wealth of scenes focused on the pet. The primary selling point is the dog, and even if it causes some awkward editing between what the dog does and people's faces, the movie succeeds in showing walking sequences, dog depression, and, finally, a tail-wagging resolution.
Where It Wobbles
Such effectiveness is not earned for the romantic plot. The film's approach wavers between serious study, zany antics, predictable love story, and silly gags, never fully committing to any one mode. The fault lies not with Cox's performance, who is willing to embrace the absurd and awkward inherent in the dog resort scenario. He brings a charming humility that provides much of the film's charm for this ostensibly perfect couple. Zooey Deschanel, as is her trademark, injects a particular brand of eccentricity that will click for some but not others. The character comes across as a little too aloof, notably when contrasted against Cox's genuine sadness. (For what it's worth, Gus the Dog is convincing at acting depressed – not quite a canine thespian of that caliber, he is still a very good boy.)
The story strives to give weight to Anna and Russ's relationship for scenes without their pet – a bit of a pity, given that the title character is undoubtedly the best part of this film designed for charm. As one might predict, it achieves only baseline competence. The reason for the split could have been more adult and realistic with more screen time and fewer direct statements. As it stands, Merv is light and sugary, hitting precisely what you anticipate. Crafting a story about dog co-parenting has potential – though it's not exactly a brilliant concept.
- Merv streams on the Amazon platform this December.
