It is a common warning in certain circles that jointly caring for a dog post-separation is a terrible idea. Experts frequently claim such situations hinder former couples from healing, create logistical nightmares, spark arguments, and are a nuisance across the board. As it turns out, and in a twist fit for a direct-to-platform film, it also makes the dogs themselves to become depressed.
While respecting the emotional well-being of dogs – pet parents attest to their profound sensitivity. If you need standout portrayal in canine melancholy, simply recall another performance. I firmly believe that a dog such as Merv, a scruffy terrier type portrayed by a talented dog named Gus, would struggle adjusting to split households. If this concept a full holiday film on such a setup holds water remains a questionable prospect.Standard Holiday Fare
Fairness demands noting, Merv, the work of its screenwriters and directed by director Swale, makes no grand claims more profound than what it is. We have here a holiday release from a major tech-and-media conglomerate – the ambitions is limited. The narrative is destined to be uncomplicated: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their own sadness is rivaled only by their dog's, take a cheer-up vacation to a dog-friendly resort. At this location, predictably, they will surely stumble toward the idea that they are better together. Ensemble players – played by Chris Redd, Jasmine Mathews, and others – serve as the usual assortment of types. Its aesthetic is reminiscent of a platform's in-house production, with a holiday backdrop that is visibly contrived – as seen in fake snow piled on lush pines as a summer location substitutes for the Northeast.
The Canine Charisma
Whether these standard ingredients come together into an entertaining watch hinges on the strength of the performances and the viewer's appetite for comfort viewing. For the comfort factor, Merv targets a specific viewer – the kind who seek out for dog videos. The film delivers a wealth of adorable dog montages. The central draw is Merv himself, and though it results in some clunky cuts between the pet's "lines" and the actors' responses, the movie succeeds in showing canine party antics, dog depression, and, in the end, a tail-wagging resolution.
Where It Wobbles
The same praise is not earned for the human side of the story. Its style wavers between relationship drama, zany antics, standard rom-com beats, and physical comedy, failing to master any one mode. This is not the actor playing Russ, who is admirably committed the humiliating and funny demanded of the unusual premise. Cox exhibits a charming humility that supplies much of the film's charm for this on-the-rocks couple. Anna's portrayer, true to her usual style, brings a distinctive offbeat energy that will be to your taste or not. The character can feel a little too aloof, notably when contrasted against Cox's genuine sadness. (For what it's worth, Merv himself manages acting depressed – while no Messi from that acclaimed drama, he is still a scene-stealer.)
The film attempts to add substance to the central romance for moments when the dog is absent – a bit of a pity, given that Merv is easily the most adorable aspect of this film designed for charm. Unsurprisingly, it meets the bare minimum. The catalyst for the split would feel more nuanced with more screen time and fewer direct statements. In the end, Merv is gentle and pleasant, hitting precisely what you anticipate. Making a film with this canine conflict isn't a bad idea – though I wouldn't call it a great one either.
- Merv premieres on the Amazon platform this December.
