It is a widely held belief among many that co-parenting a canine companion post-separation is ill-advised. The consensus suggests such situations prevent ex-partners from finding closure, cause practical headaches, spark arguments, and are a nuisance for all parties. As it turns out, in a revelation fit for a direct-to-platform film, it can even cause the canine in question to become depressed.
Without minimizing the emotional well-being of our pets – countless people observe their remarkable empathy. For a standout portrayal in dog sorrow, simply recall recent cinema. There is little doubt that a dog of Merv's nature, a scruffy terrier type brought to life by Gus the Dog, would struggle adapting to split households. If this concept an entire Christmas romance on this conflict works effectively seems a questionable prospect.Predictable Foundations
Fairness demands noting, Merv, the work of the writing duo and directed by playwright Jessica Swale, never aspires to be deeper than a light film. This is a Christmas movie from a corporate studio – the ambitions remains surface-level. Its storyline is destined to be uncomplicated: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is rivaled only by their dog's, take a uplifting getaway to a luxury pet hotel. There, inevitably, they will undoubtedly rediscover the idea that they are better together. Ensemble players – including familiar faces – are crafted as eccentric, underutilized, or over-the-top. Visually carries the feel of a platform's in-house production, with a Christmas setting that is visibly contrived – as seen in flurries surrounding verdant foliage as a summer location substitutes for a wintery Boston.
The Canine Charisma
If these predictable parts coalesce into something enjoyable hinges on the execution and the viewer's appetite for cinematic comfort food. For the comfort factor, Merv knows its audience – those people who browse regularly for pet content. The film delivers a series of scenes focused on the pet. The primary selling point is the canine star, and even if it causes some clunky cuts between animal action and human reaction, the movie does offer dog beach fun, dog depression, and, finally, doggie joy.
Where It Wobbles
The same praise cannot be applied for the romantic plot. The tone vacillates between serious study, broad humor, predictable love story, and silly gags, never fully committing to a consistent feel. The fault lies not with Cox's performance, who is admirably committed the absurd and awkward inherent in the dog resort scenario. His performance contains a endearing lack of ego that provides a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, in her typical fashion, imparts a certain millennial quirkiness that will be to your taste or not. The character seems a bit too dry, especially when paired with Cox's heartfelt sincerity. (For what it's worth, Merv himself is convincing at looking despondent – not quite Messi from that acclaimed drama, he is still a scene-stealer.)
Merv tries to give weight to the central romance for scenes without their pet – which is unfortunate, since the dog is by far the best part of this film designed for charm. As one might predict, it just about gets by. The catalyst for the split could have been more nuanced with greater exploration and fewer direct statements. In the end, Merv is gentle and pleasant, hitting every expected note. Creating a movie with this canine conflict isn't a bad idea – but it's not exactly a stroke of genius.
- Merv premieres on the Amazon platform this December.
