It is an often-repeated piece of advice among many that jointly caring for a canine companion post-separation is ill-advised. Experts frequently claim such arrangements hinder former couples from finding closure, cause practical headaches, spark arguments, and are a nuisance for all parties. As it turns out, and in a twist worthy of a streaming movie, it reportedly leads to the dogs themselves to experience sadness.
While respecting the mental health of dogs – many owners observe their profound sensitivity. If you need masterclass in dog sorrow, consider another performance. I firmly believe that a dog of Merv's nature, a scruffy terrier type portrayed by Gus the Dog, would have a hard time adapting to life in two homes. Whether this premise an entire Christmas romance on this conflict holds water remains debatable at best.Predictable Foundations
Fairness demands noting, Merv, the work of the writing duo and helmed by director Swale, makes no grand claims deeper than what it is. It functions as a Christmas movie from a major tech-and-media conglomerate – the complexity are modest. Its storyline proves to be simple and direct: former spouses Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, confronting that their own sadness is surpassed by their dog's, take a cheer-up vacation to a dog-friendly resort. Once there, as expected, they will presumably stumble toward the idea that they should reunite. Ensemble players – played by familiar faces – serve as eccentric, underutilized, or over-the-top. Its aesthetic has the quality of a streaming service original, with a wintry atmosphere that is obviously artificial – exemplified by fake snow piled on green trees as North Carolina substitutes for the Northeast.
The Dog's Domain
How these predictable parts coalesce into a pleasant experience rests upon the actors' work and one's taste for easy entertainment. For the comfort factor, Merv hones in on a demographic – those people who seek out for cute animal clips. Audiences receive a series of canine-centric sequences. The primary selling point is the dog, and while this leads to some stilted moments between what the dog does and human reaction, the movie does offer walking sequences, dog depression, and, finally, doggie joy.
Where It Wobbles
The same praise does not extend for the interpersonal drama. The tone vacillates between relationship drama, wacky comedy, formulaic romance, and physical comedy, never fully committing to a single genre. No blame falls on Cox's performance, who is fully game the humiliating and funny inherent in the bizarre setting. He brings a likable self-deprecation that supplies a significant portion of the appeal for this on-the-rocks couple. Her co-star Deschanel, true to her usual style, injects a particular brand of eccentricity that will either resonate with viewers. Her Anna seems a touch too detached, notably when paired with Cox's heartfelt sincerity. (It should be noted, Merv himself succeeds in looking despondent – while no a canine thespian of that caliber, he remains an excellent dog.)
The film attempts to provide depth to the central romance for sequences focusing solely on them – which is unfortunate, given that the title character is undoubtedly the cutest element of this film designed for charm. Expectedly, it just about gets by. The cause for their separation would feel more grounded and mature with less exposition and fewer direct statements. In the end, Merv is gentle and pleasant, meeting every expected note. Creating a movie with this canine conflict has potential – though it's not exactly a stroke of genius.
- Merv premieres on Prime Video on December 10th.
