It is an often-repeated piece of advice for numerous people that jointly caring for a pet after a breakup is a recipe for trouble. The consensus suggests such arrangements prevent individuals from finding closure, lead to scheduling chaos, fuel disputes, and are a nuisance for everyone involved. Apparently, as a development worthy of a direct-to-platform film, it reportedly leads to the dogs themselves to become depressed.
Not to downplay the mental health of dogs – pet parents attest to their deep emotional capacity. For a standout portrayal in pet despair, simply recall a past film. There is little doubt that a dog such as Merv, a wired-hair terrier mix brought to life by Gus the Dog, would struggle adapting to split households. Whether this premise a feature-length romcom on such a setup is sustainable is debatable at best.Predictable Foundations
To its credit, Merv, written by the writing duo and directed by Jessica Swale, doesn't pretend to be deeper than its premise. It functions as a Christmas movie from a major tech-and-media conglomerate – the complexity remains surface-level. The narrative proves to be straightforward: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, confronting that their own sadness is rivaled only by their dog's, decide on a therapeutic trip to a luxury pet hotel. At this location, predictably, they will presumably realize the idea that they are better together. Ensemble players – played by a group of comedic actors – serve as the usual assortment of types. Visually has the quality of a platform's in-house production, with a Christmas setting that is obviously artificial – as seen in obvious snow effects surrounding green trees as North Carolina stands in for a wintery Boston.
Where the Film Shines
If these familiar elements come together into a pleasant experience hinges on the execution and an acceptance of comfort viewing. Regarding the second aspect, Merv hones in on a demographic – the kind who seek out for pet content. It provides a plethora of canine-centric sequences. The primary selling point is Merv himself, and while this leads to some clunky cuts between the pet's "lines" and the actors' responses, the movie succeeds in showing canine party antics, pet moping, and, finally, a tail-wagging resolution.
Where It Wobbles
Such effectiveness does not extend for the human side of the story. Its style shifts uneasily between serious study, broad humor, standard rom-com beats, and outright slapstick, never fully committing to a consistent feel. This is not Cox's performance, who is willing to embrace the humiliating and funny demanded of the bizarre setting. His performance contains a endearing lack of ego that provides much of the film's charm for this on-the-rocks couple. Anna's portrayer, in her typical fashion, injects a distinctive offbeat energy that will click for some but not others. The character comes across as a little too aloof, especially when paired with Cox's vulnerable performance. (It should be noted, Merv himself succeeds in looking despondent – he may not be Messi from that acclaimed drama, he's definitely a scene-stealer.)
The film attempts to provide depth to the couple's history for scenes without their pet – a bit of a pity, since the dog is undoubtedly the cutest element of this film designed for charm. Expectedly, it achieves only baseline competence. The reason for their separation would feel more adult and realistic with more screen time and less blunt explanation. In the end, Merv is light and sugary, fulfilling precisely what you anticipate. Creating a movie about dog co-parenting has potential – even if it's hardly a great one either.
- Merv premieres on the Amazon platform on December 10th.
