This is a widely held belief in certain circles that sharing custody a canine companion post-separation is a recipe for trouble. The consensus suggests such situations impede ex-partners from finding closure, create logistical nightmares, spark arguments, and become annoying for everyone involved. As it turns out, as a development fit for a direct-to-platform film, it reportedly leads to our furry friends to become depressed.
Not to downplay the mental health of dogs – many owners observe their remarkable empathy. For a prime example in pet despair, simply recall a past film. There is little doubt that a dog such as Merv, a wired-hair terrier mix portrayed by Gus the Dog, would find it difficult coping with life in two homes. Whether this premise an entire Christmas romance on such a setup is sustainable is debatable at best.Standard Holiday Fare
To its credit, Merv, written by its screenwriters and under the guidance of director Swale, makes no grand claims deeper than its premise. This is a Christmas movie from a corporate studio – the complexity are modest. The plot proves to be simple and direct: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is rivaled only by their dog's, embark on a cheer-up vacation to a luxury pet hotel. At this location, predictably, they will undoubtedly stumble toward the idea that they belong with each other. Ensemble players – including a group of comedic actors – are crafted as eccentric, underutilized, or over-the-top. Its aesthetic has the quality of a branded content, with a Christmas setting that is clearly manufactured – exemplified by flurries clinging to green trees as a summer location substitutes for a wintery Boston.
Where the Film Shines
Whether these familiar elements come together into an entertaining watch depends on the actors' work and one's taste for cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – the kind who scroll endlessly for pet content. Audiences receive a wealth of canine-centric sequences. The central draw is the dog, and even if it causes some stilted moments between what the dog does and people's faces, the movie succeeds in showing canine party antics, pet moping, and, in the end, doggie joy.
The Human Element
Such effectiveness does not extend for the interpersonal drama. The tone wavers between serious study, zany antics, predictable love story, and silly gags, not quite landing a single genre. The fault lies not with Cox's performance, who is willing to embrace the humiliating and funny inherent in the bizarre setting. His performance contains a endearing lack of ego that offers the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, brings a particular brand of eccentricity that will click for some but not others. Her Anna seems a bit too dry, especially when paired with Cox's heartfelt sincerity. (It should be noted, Merv himself succeeds in looking despondent – not quite Messi from that acclaimed drama, he's definitely an excellent dog.)
The story strives to add substance to the couple's history for moments when the dog is absent – a regrettable choice, since Merv is undoubtedly the cutest element of this cute-aiming movie. Expectedly, it achieves only baseline competence. The cause for their separation might seem more adult and realistic with greater exploration and more subtle storytelling. As it stands, Merv is gentle and pleasant, hitting precisely what you anticipate. Making a film about dog co-parenting has potential – though it's not exactly a great one either.
- Merv streams on Prime Video this December.
