It is a widely held belief in certain circles that jointly caring for a dog following a split is a recipe for trouble. The consensus suggests such setups prevent former couples from moving forward, create logistical nightmares, fuel disputes, and become annoying for all parties. Seemingly, in a revelation suited to a direct-to-platform film, it also makes the dogs themselves to become depressed.
While respecting the inner life of our pets – many owners speak of their remarkable empathy. To witness a prime example in pet despair, one need only look recent cinema. It seems certain that a dog such as Merv, a spirited little dog played by a talented dog named Gus, would struggle adapting to divided living arrangements. Whether this premise an entire Christmas romance on such a setup works effectively seems rather doubtful.Predictable Foundations
Honestly, Merv, the work of Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, doesn't pretend to be deeper than a light film. It functions as a holiday release from a corporate studio – the depth remains surface-level. The plot proves to be uncomplicated: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is matched by their dog's, decide on a uplifting getaway to a luxury pet hotel. Once there, as expected, they will presumably realize the idea that they should reunite. Side characters – including Chris Redd, Jasmine Mathews, and others – are crafted as quirky, thinly written, or broadly comic. The film's look has the quality of a branded content, with a Christmas setting that is clearly manufactured – exemplified by fake snow clinging to verdant foliage as North Carolina doubles as a wintery Boston.
The Canine Charisma
How these familiar elements coalesce into a pleasant experience depends on the execution and an acceptance of easy entertainment. On the latter point, Merv targets a specific viewer – those people who seek out for cute animal clips. Audiences receive a series of adorable dog montages. The main attraction is the dog, and though it results in some awkward editing between animal action and the actors' responses, the movie does offer walking sequences, canine sorrow, and, in the end, pure puppy happiness.
Where It Wobbles
This level of success cannot be applied for the romantic plot. The film's approach shifts uneasily between relationship drama, wacky comedy, formulaic romance, and outright slapstick, never fully committing to any one mode. This is not Charlie Cox, who is willing to embrace the silliness and cringe inherent in the unusual premise. He brings a endearing lack of ego that provides a significant portion of the appeal for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, brings a certain millennial quirkiness that will be to your taste or not. Her Anna seems a little too aloof, especially when contrasted against Cox's vulnerable performance. (On another note, Merv himself manages looking despondent – he may not be the award-winner from Anatomy of a Fall, he is still a very good boy.)
The story strives to give weight to the central romance for moments when the dog is absent – a bit of a pity, since the dog is by far the most adorable aspect of this cute-aiming movie. Expectedly, it just about gets by. The catalyst for their original breakup could have been more grounded and mature with greater exploration and fewer direct statements. Ultimately, Merv is slight and sweet, hitting all its marks. Crafting a story about dog co-parenting has potential – even if it's hardly a brilliant concept.
- Merv premieres on Prime Video this December.
