It is a common warning in certain circles that co-parenting a dog post-separation is a recipe for trouble. Most will argue such setups impede individuals from moving forward, create logistical nightmares, lead to tension, and are a nuisance across the board. Apparently, in a revelation fit for a direct-to-platform film, it can even cause the canine in question to become depressed.
Without minimizing the emotional well-being of animals – pet parents attest to their profound sensitivity. For a masterclass in pet despair, one need only look recent cinema. I firmly believe that a dog of Merv's nature, a wired-hair terrier mix played by the canine actor Gus, would have a hard time coping with life in two homes. The idea of basing a feature-length romcom around this situation is sustainable remains rather doubtful.Predictable Foundations
Fairness demands noting, Merv, crafted by Dane Clark and Linsey Stewart and helmed by Jessica Swale, doesn't pretend to be deeper than a light film. This is a Christmas movie from a corporate studio – the ambitions remains surface-level. Its storyline proves to be simple and direct: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their post-breakup gloom is rivaled only by their dog's, embark on a cheer-up vacation to a canine-centric retreat. Once there, as expected, they will surely realize the idea that they belong with each other. Ensemble players – including Chris Redd, Jasmine Mathews, and others – serve as the usual assortment of types. The film's look is reminiscent of a branded content, with a wintry atmosphere that is clearly manufactured – as seen in flurries surrounding lush pines as a summer location substitutes for a cold December city.
The Dog's Domain
How these predictable parts come together into an entertaining watch hinges on the actors' work and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv targets a specific viewer – individuals who browse regularly for cute animal clips. The film delivers a plethora of canine-centric sequences. The main attraction is the canine star, and even if it causes some stilted moments between what the dog does and the actors' responses, the movie delivers on canine party antics, canine sorrow, and, in the end, doggie joy.
The Human Element
The same praise cannot be applied for the romantic plot. The film's approach vacillates between serious study, wacky comedy, standard rom-com beats, and physical comedy, not quite landing any one mode. This is not Cox's performance, who is fully game the silliness and cringe inherent in the bizarre setting. Cox exhibits a endearing lack of ego that supplies a significant portion of the appeal for this on-the-rocks couple. Zooey Deschanel, as is her trademark, injects a particular brand of eccentricity that will be to your taste or not. Her portrayal comes across as a bit too dry, especially when contrasted against Cox's vulnerable performance. (For what it's worth, Merv himself is convincing at looking despondent – not quite Messi from that acclaimed drama, he remains a scene-stealer.)
Merv tries to provide depth to the central romance for moments when the dog is absent – a bit of a pity, given that Merv is easily the cutest element of this film designed for charm. As one might predict, it achieves only baseline competence. The catalyst for their separation could have been more grounded and mature with greater exploration and more subtle storytelling. As it stands, Merv is light and sugary, hitting every expected note. Creating a movie with this canine conflict is not terrible – even if it's not exactly a brilliant concept.
- Merv becomes available on Prime Video this December.
