It is a common warning in certain circles that co-parenting a dog following a split is a recipe for trouble. Most will argue such setups hinder former couples from healing, create logistical nightmares, fuel disputes, and become annoying for everyone involved. Seemingly, as a development worthy of a direct-to-platform film, it can even cause the dogs themselves to become depressed.
While respecting the emotional well-being of our pets – many owners observe their profound sensitivity. To witness a standout portrayal in canine melancholy, simply recall a past film. I firmly believe that a dog of Merv's nature, a spirited little dog played by a talented dog named Gus, would find it difficult adjusting to divided living arrangements. Whether this premise a full holiday film around this situation is sustainable is debatable at best.Predictable Foundations
Honestly, Merv, the work of its screenwriters and under the guidance of playwright Jessica Swale, never aspires to be deeper than a light film. This is a holiday release from a major tech-and-media conglomerate – the depth is limited. The plot proves to be straightforward: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, confronting that their own sadness is matched by their dog's, decide on a therapeutic trip to a canine-centric retreat. Once there, as expected, they will presumably rediscover the idea that they belong with each other. The supporting cast – played by a group of comedic actors – serve as quirky, thinly written, or broadly comic. The film's look carries the feel of a platform's in-house production, with a holiday backdrop that is clearly manufactured – exemplified by obvious snow effects piled on green trees as a summer location doubles as a cold December city.
The Dog's Domain
If these predictable parts come together into a pleasant experience hinges on the strength of the performances and one's taste for cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – individuals who seek out for cute animal clips. Audiences receive a wealth of canine-centric sequences. The main attraction is the dog, and though it results in some clunky cuts between what the dog does and people's faces, the movie succeeds in showing canine party antics, dog depression, and, ultimately, doggie joy.
Where It Wobbles
Such effectiveness is not earned for the human side of the story. The film's approach vacillates between emotional depth, wacky comedy, predictable love story, and physical comedy, not quite landing a single genre. This is not the actor playing Russ, who is willing to embrace the absurd and awkward demanded of the unusual premise. He brings a likable self-deprecation that offers a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, as is her trademark, injects a particular brand of eccentricity that will either resonate with viewers. Her Anna can feel a touch too detached, especially when paired with Cox's heartfelt sincerity. (On another note, Gus the Dog manages looking despondent – not quite Messi from that acclaimed drama, he remains an excellent dog.)
Merv tries to provide depth to the central romance for scenes without their pet – a bit of a pity, given that the dog is easily the best part of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The cause for their separation would feel more adult and realistic with more screen time and fewer direct statements. As it stands, Merv is slight and sweet, fulfilling precisely what you anticipate. Crafting a story with this canine conflict has potential – though it's not exactly a great one either.
- Merv streams on the Amazon platform on December 10th.
