This is an often-repeated piece of advice in certain circles that co-parenting a dog post-separation is a terrible idea. The consensus suggests such situations hinder former couples from finding closure, create logistical nightmares, lead to tension, and become annoying for everyone involved. Seemingly, in a revelation worthy of a direct-to-platform film, it can even cause our furry friends to feel down.
Not to downplay the inner life of our pets – countless people observe their deep emotional capacity. To witness a prime example in canine melancholy, consider a past film. It seems certain that a dog such as Merv, a spirited little dog portrayed by Gus the Dog, would have a hard time adjusting to life in two homes. The idea of basing an entire Christmas romance on such a setup is sustainable seems a questionable prospect.Predictable Foundations
Fairness demands noting, Merv, written by the writing duo and helmed by playwright Jessica Swale, makes no grand claims anything more than its premise. We have here a Christmas movie from a major tech-and-media conglomerate – the complexity are modest. Its storyline proves to be simple and direct: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is matched by their dog's, decide on a cheer-up vacation to a dog-friendly resort. There, inevitably, they will surely rediscover the idea that they are better together. Side characters – featuring familiar faces – fulfill roles quirky, thinly written, or broadly comic. Its aesthetic carries the feel of a branded content, with a holiday backdrop that is clearly manufactured – think obvious snow effects surrounding green trees as North Carolina stands in for the Northeast.
Where the Film Shines
Whether these predictable parts merge into a pleasant experience rests upon the actors' work and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv hones in on a demographic – individuals who browse regularly for cute animal clips. Audiences receive a wealth of canine-centric sequences. The main attraction is the dog, and even if it causes some stilted moments between animal action and the actors' responses, the movie succeeds in showing walking sequences, dog depression, and, in the end, a tail-wagging resolution.
The Human Element
The same praise cannot be applied for the romantic plot. The film's approach wavers between relationship drama, zany antics, formulaic romance, and silly gags, not quite landing a consistent feel. This is not Charlie Cox, who is admirably committed the absurd and awkward required by the bizarre setting. Cox exhibits a endearing lack of ego that provides much of the film's charm for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, brings a distinctive offbeat energy that will either resonate with viewers. Her Anna seems a bit too dry, especially when paired with Cox's genuine sadness. (For what it's worth, Merv himself is convincing at looking despondent – while no a canine thespian of that caliber, he remains a scene-stealer.)
The film attempts to provide depth to the central romance for scenes without their pet – a regrettable choice, given that Merv is undoubtedly the best part of this cute-aiming movie. Expectedly, it just about gets by. The catalyst for the split could have been more grounded and mature with more screen time and fewer direct statements. Ultimately, Merv is light and sugary, hitting precisely what you anticipate. Creating a movie with this canine conflict has potential – though I wouldn't call it a stroke of genius.
- Merv becomes available on Amazon Prime Video on December 10th.
