It is an often-repeated piece of advice among many that sharing custody a dog after a breakup is ill-advised. Most will argue such setups hinder ex-partners from finding closure, cause practical headaches, lead to tension, and prove frustrating for all parties. As it turns out, and in a twist worthy of a direct-to-platform film, it also makes the canine in question to become depressed.
While respecting the emotional well-being of dogs – pet parents observe their profound sensitivity. For a masterclass in pet despair, simply recall recent cinema. It seems certain that a dog such as Merv, a scruffy terrier type portrayed by a talented dog named Gus, would find it difficult adapting to divided living arrangements. The idea of basing an entire Christmas romance around this situation is sustainable seems debatable at best.Standard Holiday Fare
To its credit, Merv, written by Dane Clark and Linsey Stewart and helmed by Jessica Swale, doesn't pretend to be anything more than a light film. We have here a seasonal offering from a major tech-and-media conglomerate – the depth are modest. The narrative proves to be uncomplicated: former spouses Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their own sadness is rivaled only by their dog's, take a cheer-up vacation to a dog-friendly resort. At this location, predictably, they will surely stumble toward the idea that they belong with each other. The supporting cast – featuring familiar faces – 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 – think flurries surrounding verdant foliage as a summer location stands in for a wintery Boston.
The Dog's Domain
Whether these familiar elements merge into an entertaining watch hinges on the execution and the viewer's appetite for easy entertainment. On the latter point, Merv hones in on a demographic – individuals who browse regularly for cute animal clips. It provides a series of canine-centric sequences. The primary selling point is Merv himself, and while this leads to some stilted moments between the pet's "lines" and human reaction, the movie does offer canine party antics, canine sorrow, and, finally, a tail-wagging resolution.
Where It Wobbles
This level of success cannot be applied for the romantic plot. The tone vacillates between emotional depth, zany antics, predictable love story, and silly gags, not quite landing any one mode. No blame falls on Cox's performance, who is fully game the absurd and awkward required by the dog resort scenario. He brings a endearing lack of ego that offers the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, injects a distinctive offbeat energy that will be to your taste or not. The character can feel a touch too detached, notably when contrasted against Cox's genuine sadness. (For what it's worth, Gus the Dog manages flopping and whining – while no a canine thespian of that caliber, he's definitely an excellent dog.)
The story strives to provide depth to the central romance for scenes without their pet – a bit of a pity, considering the title character is undoubtedly the cutest element of this cute-aiming movie. As one might predict, it meets the bare minimum. The catalyst for their separation would feel more adult and realistic with more screen time and fewer direct statements. Ultimately, Merv is gentle and pleasant, meeting every expected note. Making a film with this canine conflict isn't a bad idea – but it's not exactly a stroke of genius.
- Merv premieres on the Amazon platform this December.
