This is an often-repeated piece of advice among many that sharing custody a canine companion after a breakup is ill-advised. Experts frequently claim such setups prevent individuals from finding closure, create logistical nightmares, spark arguments, and become annoying for all parties. Seemingly, and in a twist fit for a direct-to-platform film, it can even cause our furry friends to feel down.
Without minimizing the mental health of dogs – countless people attest to their profound sensitivity. To witness a prime example in pet despair, simply recall a past film. There is little doubt that a dog of Merv's nature, a spirited little dog played by Gus the Dog, would struggle adjusting to split households. The idea of basing an entire Christmas romance on such a setup works effectively remains debatable at best.Standard Holiday Fare
To its credit, Merv, written by the writing duo and helmed by director Swale, doesn't pretend to be deeper than what it is. We have here a Christmas movie from a major tech-and-media conglomerate – the depth are modest. Its storyline proves to be straightforward: a separated couple Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their post-breakup gloom is rivaled only by their dog's, embark on a cheer-up vacation to a luxury pet hotel. At this location, predictably, they will presumably rediscover the idea that they should reunite. Ensemble players – played by Chris Redd, Jasmine Mathews, and others – serve as the usual assortment of types. The film's look carries the feel of a platform's in-house production, with a Christmas setting that is visibly contrived – think obvious snow effects piled on green trees as a summer location stands in for a wintery Boston.
The Dog's Domain
How these predictable parts come together into something enjoyable depends on the actors' work and one's taste for cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – those people who scroll endlessly for dog videos. It provides a series of scenes focused on the pet. The central draw is the canine star, and even if it causes some stilted moments between animal action and the actors' responses, the movie does offer walking sequences, dog depression, and, finally, pure puppy happiness.
The Human Element
This level of success cannot be applied for the interpersonal drama. Its style shifts uneasily between emotional depth, zany antics, formulaic romance, and physical comedy, never fully committing to a consistent feel. No blame falls on Cox's performance, who is admirably committed the humiliating and funny demanded of the dog resort scenario. Cox exhibits a likable self-deprecation that offers a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, in her typical fashion, brings a distinctive offbeat energy that will either resonate with viewers. The character comes across as a touch too detached, especially when contrasted against Cox's genuine sadness. (It should be noted, Merv himself manages looking despondent – he may not be a canine thespian of that caliber, he is still a scene-stealer.)
The film attempts to add substance to the central romance for sequences focusing solely on them – which is unfortunate, given that Merv is by far the most adorable aspect of this feel-good picture. Unsurprisingly, it achieves only baseline competence. The reason for the split could have been more nuanced with less exposition and more subtle storytelling. As it stands, Merv is gentle and pleasant, hitting all its marks. Making a film about dog co-parenting isn't a bad idea – even if I wouldn't call it a stroke of genius.
- Merv becomes available on the Amazon platform on December 10th.
