This is an often-repeated piece of advice in certain circles that jointly caring for a pet post-separation is a recipe for trouble. The consensus suggests such situations impede ex-partners from healing, lead to scheduling chaos, fuel disputes, and prove frustrating for everyone involved. Seemingly, in a revelation suited to a streaming movie, it reportedly leads to the canine in question to become depressed.
Without minimizing the inner life of animals – many owners speak of their profound sensitivity. To witness a prime example in pet despair, one need only look another performance. It seems certain that a dog like Merv, a scruffy terrier type portrayed by Gus the Dog, would struggle adapting to divided living arrangements. The idea of basing a feature-length romcom on such a setup is sustainable seems rather doubtful.Predictable Foundations
To its credit, Merv, the work of its screenwriters and under the guidance of director Swale, never aspires to be deeper than its premise. This is a holiday release from a corporate studio – the complexity remains surface-level. The narrative proves to be simple and direct: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is surpassed by their dog's, take a cheer-up vacation to a luxury pet hotel. Once there, as expected, they will surely rediscover the idea that they are better together. Side characters – including a group of comedic actors – serve as eccentric, underutilized, or over-the-top. The film's look has the quality of a branded content, with a wintry atmosphere that is visibly contrived – as seen in fake snow surrounding green trees as a summer location stands in for a wintery Boston.
The Dog's Domain
How these predictable parts come together into a pleasant experience hinges on the execution and one's taste for easy entertainment. Regarding the second aspect, Merv knows its audience – the kind who browse regularly for pet content. Audiences receive a plethora of adorable dog montages. The central draw is the canine star, and though it results in some awkward editing between what the dog does and the actors' responses, the movie delivers on walking sequences, dog depression, and, finally, pure puppy happiness.
Where It Wobbles
Such effectiveness cannot be applied for the human side of the story. The film's approach shifts uneasily between emotional depth, broad humor, formulaic romance, and outright slapstick, failing to master any one mode. This is not the actor playing Russ, who is admirably committed the humiliating and funny demanded of the dog resort scenario. Cox exhibits a likable self-deprecation that provides a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, in her typical fashion, injects a particular brand of eccentricity that will either resonate with viewers. Her Anna seems a touch too detached, notably when contrasted against 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 story strives to add substance to the central romance for moments when the dog is absent – a regrettable choice, given that the dog is easily the cutest element of this feel-good picture. As one might predict, it meets the bare minimum. The cause for their separation would feel more adult and realistic with less exposition and less blunt explanation. Ultimately, Merv is slight and sweet, hitting all its marks. Creating a movie with this canine conflict is not terrible – though it's hardly a great one either.
- Merv premieres on Prime Video this December.
