This is an often-repeated piece of advice for numerous people that jointly caring for a canine companion after a breakup is a terrible idea. Most will argue such setups hinder individuals from healing, cause practical headaches, spark arguments, and prove frustrating across the board. As it turns out, and in a twist suited to a direct-to-platform film, it also makes the dogs themselves to become depressed.
Not to downplay the emotional well-being of our pets – pet parents observe their remarkable empathy. To witness a prime example in canine melancholy, simply recall a past film. It seems certain that a dog such as Merv, a spirited little dog brought to life by the canine actor Gus, would struggle coping with life in two homes. The idea of basing a full holiday film on this conflict holds water is rather doubtful.Standard Holiday Fare
Fairness demands noting, Merv, the work of its screenwriters and directed by playwright Jessica Swale, makes no grand claims deeper than what it is. It functions as a Christmas movie from a streaming platform giant – the complexity is limited. The narrative is destined to be uncomplicated: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their individual funk is surpassed by their dog's, take a uplifting getaway to a luxury pet hotel. Once there, as expected, they will undoubtedly realize the idea that they belong with each other. Ensemble players – including Chris Redd, Jasmine Mathews, and others – fulfill roles the usual assortment of types. Visually has the quality of a platform's in-house production, with a wintry atmosphere that is obviously artificial – as seen in fake snow clinging to green trees as North Carolina doubles as a wintery Boston.
The Dog's Domain
How these familiar elements coalesce into something enjoyable hinges on the strength of the performances and an acceptance of cinematic comfort food. On the latter point, Merv targets a specific viewer – the kind who browse regularly for pet content. It provides a wealth of canine-centric sequences. The central draw is the dog, and even if it causes some awkward editing between the pet's "lines" and human reaction, the movie does offer walking sequences, canine sorrow, and, in the end, pure puppy happiness.
Where It Wobbles
This level of success is not earned for the romantic plot. Its style shifts uneasily between serious study, wacky comedy, formulaic romance, and physical comedy, never fully committing to a single genre. The fault lies not with Charlie Cox, who is willing to embrace the humiliating and funny required by the dog resort scenario. He brings a endearing lack of ego that offers the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, true to her usual style, injects a particular brand of eccentricity that will be to your taste or not. Her Anna comes across as a little too aloof, notably when paired with Cox's genuine sadness. (It should be noted, Gus the Dog is convincing at flopping and whining – he may not be a canine thespian of that caliber, he remains a very good boy.)
The story strives to provide depth to the central romance for moments when the dog is absent – which is unfortunate, since the dog is easily the best part of this cute-aiming movie. As one might predict, it achieves only baseline competence. The reason for the split might seem more adult and realistic with less exposition and more subtle storytelling. As it stands, Merv is slight and sweet, hitting precisely what you anticipate. Creating a movie with this canine conflict has potential – even if it's not exactly a great one either.
- Merv becomes available on the Amazon platform starting December 10.
