This is a widely held belief in certain circles that jointly caring for a pet after a breakup is a recipe for trouble. The consensus suggests such arrangements hinder individuals from finding closure, lead to scheduling chaos, spark arguments, and prove frustrating for everyone involved. Seemingly, as a development worthy of a direct-to-platform film, it can even cause our furry friends to become depressed.
Not to downplay the inner life of animals – pet parents speak of their profound sensitivity. To witness a standout portrayal in dog sorrow, simply recall recent cinema. I firmly believe that a dog of Merv's nature, a spirited little dog brought to life by the canine actor Gus, would find it difficult coping with split households. The idea of basing a full holiday film around this situation is sustainable seems debatable at best.A Familiar Formula
Fairness demands noting, Merv, the work of its screenwriters and directed by playwright Jessica Swale, doesn't pretend to be anything more than what it is. We have here a Christmas movie from a corporate studio – the complexity is limited. Its storyline is destined to be uncomplicated: exes 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 canine-centric retreat. There, inevitably, they will presumably realize the idea that they belong with each other. Side characters – played by a group of comedic actors – are crafted as eccentric, underutilized, or over-the-top. The film's look carries the feel of a branded content, with a holiday backdrop that is obviously artificial – exemplified by fake snow piled on green trees as North Carolina doubles as a cold December city.
The Dog's Domain
If these predictable parts merge into a pleasant experience hinges on the actors' work and one's taste for easy entertainment. On the latter point, Merv targets a specific viewer – those people who browse regularly for pet content. It provides a wealth of scenes focused on the pet. The central draw is the dog, and even if it causes some awkward editing between what the dog does and people's faces, the movie delivers on canine party antics, dog depression, and, in the end, doggie joy.
Where It Wobbles
This level of success does not extend for the interpersonal drama. The film's approach wavers between serious study, wacky comedy, standard rom-com beats, and outright slapstick, not quite landing a single genre. No blame falls on Charlie Cox, who is fully game the humiliating and funny inherent in the unusual premise. He brings a likable self-deprecation that supplies much of the film's charm for this on-the-rocks couple. Anna's portrayer, in her typical fashion, brings a distinctive offbeat energy that will click for some but not others. Her portrayal seems a touch too detached, notably when alongside Cox's heartfelt sincerity. (On another note, Gus the Dog is convincing at acting depressed – not quite the award-winner from Anatomy of a Fall, he is still a scene-stealer.)
Merv tries to provide depth to Anna and Russ's relationship for sequences focusing solely on them – a regrettable choice, since the dog is by far the best part of this feel-good picture. Unsurprisingly, it just about gets by. The catalyst for the split might seem more nuanced with less exposition and more subtle storytelling. In the end, Merv is slight and sweet, hitting all its marks. Creating a movie with this canine conflict has potential – though I wouldn't call it a great one either.
- Merv becomes available on the Amazon platform on December 10th.
