This is a widely held belief in certain circles that jointly caring for a canine companion following a split is a terrible idea. Most will argue such arrangements prevent individuals from moving forward, create logistical nightmares, fuel disputes, and are a nuisance for everyone involved. Apparently, and in a twist fit for a direct-to-platform film, it can even cause our furry friends to experience sadness.
Without minimizing the inner life of our pets – pet parents observe their deep emotional capacity. For a masterclass in dog sorrow, consider a past film. I firmly believe that a dog like Merv, a scruffy terrier type portrayed by the canine actor Gus, would have a hard time adapting to split households. If this concept an entire Christmas romance around this situation holds water seems debatable at best.Predictable Foundations
To its credit, Merv, written by Dane Clark and Linsey Stewart and under the guidance of director Swale, never aspires to be anything more than its premise. It functions as a holiday release from a corporate studio – the ambitions are modest. Its storyline unfolds as uncomplicated: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their individual funk is surpassed by their dog's, decide on a therapeutic trip to a luxury pet hotel. Once there, as expected, they will undoubtedly realize the idea that they belong with each other. Side characters – featuring Chris Redd, Jasmine Mathews, and others – fulfill roles eccentric, underutilized, or over-the-top. Visually carries the feel of a platform's in-house production, with a holiday backdrop that is obviously artificial – exemplified by obvious snow effects surrounding lush pines as North Carolina stands in for the Northeast.
Where the Film Shines
Whether these standard ingredients come together into a pleasant experience hinges on the strength of the performances and one's taste for cinematic comfort food. On the latter point, Merv hones in on a demographic – the kind who browse regularly for cute animal clips. The film delivers a series of scenes focused on the pet. The central draw is the canine star, and even if it causes some awkward editing between what the dog does and human reaction, the movie succeeds in showing dog beach fun, canine sorrow, and, finally, doggie joy.
Where It Wobbles
Such effectiveness is not earned for the human side of the story. Its style wavers between emotional depth, wacky comedy, formulaic romance, and outright slapstick, never fully committing to a single genre. This is not Cox's performance, who is willing to embrace the silliness and cringe inherent in the unusual premise. He brings a likable self-deprecation that offers much of the film's charm for this ostensibly perfect couple. Anna's portrayer, as is her trademark, imparts a certain millennial quirkiness that will be to your taste or not. Her portrayal can feel a touch too detached, particularly when paired with Cox's genuine sadness. (On another note, Gus the Dog is convincing at flopping and whining – while no a canine thespian of that caliber, he remains an excellent dog.)
Merv tries to give weight to the couple's history for sequences focusing solely on them – a bit of a pity, considering the title character is easily the best part of this cute-aiming movie. Unsurprisingly, it achieves only baseline competence. The catalyst for their original breakup might seem more adult and realistic with less exposition and fewer direct statements. Ultimately, Merv is light and sugary, fulfilling every expected note. Creating a movie on this shared-custody premise has potential – but I wouldn't call it a stroke of genius.
- Merv streams on Amazon Prime Video on December 10th.
