It is a common warning among many that jointly caring for a canine companion following a split is a terrible idea. Most will argue such setups impede ex-partners from moving forward, lead to scheduling chaos, fuel disputes, and become annoying for everyone involved. As it turns out, as a development fit for a direct-to-platform film, it also makes the canine in question to become depressed.
Without minimizing the mental health of our pets – pet parents observe their profound sensitivity. If you need prime example in dog sorrow, one need only look recent cinema. It seems certain that a dog of Merv's nature, a wired-hair terrier mix portrayed by Gus the Dog, would have a hard time adapting to life in two homes. Whether this premise a full holiday film on this conflict is sustainable remains debatable at best.Predictable Foundations
Fairness demands noting, Merv, written by Dane Clark and Linsey Stewart and helmed by director Swale, doesn't pretend to be anything more than its premise. It functions as a Christmas movie from a major tech-and-media conglomerate – the depth remains surface-level. The plot is destined to be straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), realizing that their individual funk is rivaled only by their dog's, decide on a therapeutic trip to a canine-centric retreat. There, inevitably, they will presumably realize the idea that they are better together. Side characters – featuring Chris Redd, Jasmine Mathews, and others – are crafted as the usual assortment of types. The film's look has the quality of a streaming service original, with a holiday backdrop that is clearly manufactured – exemplified by fake snow clinging to verdant foliage as a summer location stands in for a cold December city.
The Canine Charisma
How these predictable parts merge into something enjoyable rests upon the execution and an acceptance of cinematic comfort food. On the latter point, Merv targets a specific viewer – the kind who browse regularly for dog videos. The film delivers a wealth of adorable dog montages. The primary selling point is the dog, and even if it causes some stilted moments between animal action and people's faces, the movie does offer canine party antics, canine sorrow, and, in the end, pure puppy happiness.
Where It Wobbles
The same praise is not earned for the romantic plot. The film's approach vacillates between relationship drama, wacky comedy, formulaic romance, and silly gags, failing to master a single genre. The fault lies not with Cox's performance, who is admirably committed the silliness and cringe inherent in the unusual premise. He brings a endearing lack of ego that supplies the bulk of the chemistry for this seemingly ideal couple. Zooey Deschanel, true to her usual style, injects a certain millennial quirkiness that will click for some but not others. Her portrayal seems a touch too detached, especially when alongside Cox's vulnerable performance. (It should be noted, Gus the Dog succeeds in looking despondent – he may not be the award-winner from Anatomy of a Fall, he is still a scene-stealer.)
The story strives to give weight to the central romance for scenes without their pet – a bit of a pity, since the dog is easily the most adorable aspect of this feel-good picture. Unsurprisingly, it achieves only baseline competence. The reason for the split could have been more grounded and mature with less exposition and less blunt explanation. As it stands, Merv is light and sugary, fulfilling all its marks. Making a film on this shared-custody premise is not terrible – but I wouldn't call it a great one either.
- Merv streams on the Amazon platform this December.
