It is a widely held belief in certain circles that sharing custody a dog following a split is a recipe for trouble. Experts frequently claim such setups hinder former couples from moving forward, lead to scheduling chaos, fuel disputes, and prove frustrating for all parties. Apparently, as a development suited to a direct-to-platform film, it reportedly leads to the dogs themselves to feel down.
Without minimizing the mental health of animals – pet parents attest to their remarkable empathy. For a prime example in pet despair, one need only look another performance. I firmly believe that a dog like Merv, a scruffy terrier type brought to life by a talented dog named Gus, would struggle adjusting to split households. Whether this premise a full holiday film around this situation is sustainable seems a questionable prospect.Standard Holiday Fare
Honestly, Merv, written by Dane Clark and Linsey Stewart and directed by director Swale, doesn't pretend to be more profound than its premise. This is a Christmas movie from a major tech-and-media conglomerate – the ambitions remains surface-level. The plot proves to be simple and direct: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, realizing that their individual funk is matched by their dog's, embark on a cheer-up vacation to a dog-friendly resort. Once there, as expected, they will surely stumble toward the idea that they should reunite. The supporting cast – including Chris Redd, Jasmine Mathews, and others – serve as eccentric, underutilized, or over-the-top. Visually has the quality of a streaming service original, with a wintry atmosphere that is visibly contrived – as seen in fake snow piled on lush pines as a warm climate substitutes for the Northeast.
Where the Film Shines
How these predictable parts merge into a pleasant experience depends on the execution and one's taste for cinematic comfort food. Regarding the second aspect, Merv knows its audience – individuals who seek out for pet content. Audiences receive a series of canine-centric sequences. The primary selling point is Merv himself, and while this leads to some awkward editing between what the dog does and people's faces, the movie does offer dog beach fun, canine sorrow, and, ultimately, pure puppy happiness.
The Human Element
Such effectiveness is not earned for the interpersonal drama. The film's approach shifts uneasily between serious study, wacky comedy, formulaic romance, and physical comedy, never fully committing to a consistent feel. No blame falls on Cox's performance, who is willing to embrace the silliness and cringe inherent in the bizarre setting. His performance contains a likable self-deprecation that provides the bulk of the chemistry for this seemingly ideal couple. Anna's portrayer, in her typical fashion, imparts a distinctive offbeat energy that will click for some but not others. The character comes across as a little too aloof, particularly when paired with Cox's vulnerable performance. (On another note, Gus the Dog is convincing at flopping and whining – not quite Messi from that acclaimed drama, he's definitely a scene-stealer.)
The film attempts to add substance to the couple's history for sequences focusing solely on them – which is unfortunate, considering Merv is easily the best part of this cute-aiming movie. Unsurprisingly, it achieves only baseline competence. The catalyst for their separation might seem more nuanced with greater exploration and more subtle storytelling. In the end, Merv is gentle and pleasant, meeting all its marks. Creating a movie about dog co-parenting is not terrible – but it's hardly a brilliant concept.
- Merv premieres on Prime Video this December.
