This is a widely held belief in certain circles that sharing custody a canine companion post-separation is a recipe for trouble. The consensus suggests such situations hinder ex-partners from moving forward, lead to scheduling chaos, lead to tension, and are a nuisance for everyone involved. Seemingly, as a development worthy of a direct-to-platform film, it reportedly leads to our furry friends to experience sadness.
Not to downplay the emotional well-being of our pets – many owners observe their profound sensitivity. For a prime example in dog sorrow, one need only look recent cinema. There is little doubt that a dog such as Merv, a scruffy terrier type played by a talented dog named Gus, would struggle coping with divided living arrangements. The idea of basing a full holiday film around this situation is sustainable is rather doubtful.Predictable Foundations
Fairness demands noting, Merv, the work of its screenwriters and directed by director Swale, never aspires to be more profound than its premise. We have here a holiday release from a corporate studio – the ambitions is limited. Its storyline unfolds as straightforward: a separated couple Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their individual funk is rivaled only by their dog's, embark on a therapeutic trip to a luxury pet hotel. Once there, as expected, they will undoubtedly rediscover the idea that they belong with each other. Ensemble players – including familiar faces – are crafted as quirky, thinly written, or broadly comic. Its aesthetic carries the feel of a streaming service original, with a wintry atmosphere that is obviously artificial – think flurries piled on verdant foliage as a warm climate doubles as a cold December city.
The Dog's Domain
How these predictable parts come together into an entertaining watch hinges on the actors' work and an acceptance of comfort viewing. Regarding the second aspect, Merv hones in on a demographic – the kind who browse regularly for pet content. The film delivers a wealth of scenes focused on the pet. The central draw is the dog, and even if it causes some awkward editing between the pet's "lines" and people's faces, the movie succeeds in showing canine party antics, pet moping, and, in the end, pure puppy happiness.
Where It Wobbles
The same praise cannot be applied for the romantic plot. Its style shifts uneasily between relationship drama, broad humor, formulaic romance, and outright slapstick, failing to master a consistent feel. This is not Cox's performance, who is admirably committed the absurd and awkward inherent in the bizarre setting. His performance contains a endearing lack of ego that supplies a significant portion of the appeal for this seemingly ideal couple. Anna's portrayer, true to her usual style, brings a distinctive offbeat energy that will either resonate with viewers. Her portrayal comes across as a touch too detached, especially when contrasted against Cox's vulnerable performance. (It should be noted, Gus the Dog manages acting depressed – while no a canine thespian of that caliber, he's definitely a very good boy.)
The story strives to add substance to the couple's history for sequences focusing solely on them – which is unfortunate, since the title character is undoubtedly the most adorable aspect of this feel-good picture. Expectedly, it meets the bare minimum. The cause for their separation could have been more nuanced with more screen time and fewer direct statements. Ultimately, Merv is gentle and pleasant, hitting all its marks. Creating a movie about dog co-parenting has potential – even if I wouldn't call it a stroke of genius.
- Merv premieres on Prime Video starting December 10.
