This is an often-repeated piece of advice among many that jointly caring for a pet after a breakup is a terrible idea. Experts frequently claim such arrangements impede individuals from healing, lead to scheduling chaos, spark arguments, and are a nuisance for all parties. Apparently, and in a twist suited to a streaming movie, it also makes the dogs themselves to feel down.
Not to downplay the emotional well-being of dogs – countless people attest to their deep emotional capacity. To witness a standout portrayal in canine melancholy, simply recall another performance. It seems certain that a dog such as Merv, a scruffy terrier type brought to life by a talented dog named Gus, would have a hard time adapting to divided living arrangements. Whether this premise an entire Christmas romance on such a setup is sustainable is debatable at best.A Familiar Formula
Fairness demands noting, Merv, written by Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, never aspires to be more profound than its premise. It functions as a Christmas movie from a corporate studio – the complexity is limited. Its storyline is destined to be simple and direct: a separated couple Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, realizing that their post-breakup gloom is matched by their dog's, embark on a uplifting getaway to a luxury pet hotel. There, inevitably, they will surely realize the idea that they should reunite. Ensemble players – featuring familiar faces – fulfill roles the usual assortment of types. The film's look is reminiscent of a branded content, with a Christmas setting that is obviously artificial – as seen in flurries piled on green trees as a summer location doubles as a cold December city.
The Dog's Domain
Whether these predictable parts come together into something enjoyable depends on the strength of the performances and an acceptance of comfort viewing. On the latter point, Merv hones in on a demographic – the kind who seek out for dog videos. Audiences receive a plethora of canine-centric sequences. The main attraction is Merv himself, and though it results in some clunky cuts between what the dog does and the actors' responses, the movie succeeds in showing dog beach fun, pet moping, and, in the end, doggie joy.
The Human Element
This level of success cannot be applied for the interpersonal drama. Its style vacillates between serious study, broad humor, predictable love story, and physical comedy, never fully committing to any one mode. No blame falls on Cox's performance, who is admirably committed the silliness and cringe required by the bizarre setting. His performance contains a endearing lack of ego that offers much of the film's charm for this on-the-rocks couple. Zooey Deschanel, true to her usual style, brings a certain millennial quirkiness that will click for some but not others. Her Anna seems a little too aloof, especially when paired with Cox's vulnerable performance. (On another note, Gus the Dog succeeds in flopping and whining – while no a canine thespian of that caliber, he is still a scene-stealer.)
The story strives to give weight to the central romance for moments when the dog is absent – a regrettable choice, given that Merv is undoubtedly the most adorable aspect of this feel-good picture. As one might predict, it achieves only baseline competence. The catalyst for the split might seem more grounded and mature with more screen time and fewer direct statements. Ultimately, Merv is slight and sweet, meeting every expected note. Crafting a story with this canine conflict is not terrible – though I wouldn't call it a brilliant concept.
- Merv premieres on Prime Video on December 10th.
