This is an often-repeated piece of advice in certain circles that sharing custody a canine companion following a split is a terrible idea. Experts frequently claim such setups impede former couples from healing, lead to scheduling chaos, lead to tension, and prove frustrating for everyone involved. Seemingly, and in a twist worthy of a direct-to-platform film, it reportedly leads to the dogs themselves to feel down.
While respecting the inner life of dogs – pet parents attest to their profound sensitivity. If you need prime example in canine melancholy, consider another performance. There is little doubt that a dog of Merv's nature, a spirited little dog brought to life by the canine actor Gus, would find it difficult coping with divided living arrangements. If this concept a full holiday film on this conflict holds water seems rather doubtful.Predictable Foundations
Honestly, Merv, the work of its screenwriters and directed by director Swale, doesn't pretend to be anything more than what it is. We have here a Christmas movie from a major tech-and-media conglomerate – the depth are modest. The narrative unfolds as straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is matched by their dog's, embark on a uplifting getaway to a canine-centric retreat. Once there, as expected, they will undoubtedly realize the idea that they are better together. Ensemble players – featuring Chris Redd, Jasmine Mathews, and others – are crafted as quirky, thinly written, or broadly comic. Its aesthetic has the quality of a branded content, with a Christmas setting that is obviously artificial – think fake snow surrounding verdant foliage as a summer location substitutes for a cold December city.
The Dog's Domain
If these predictable parts coalesce into an entertaining watch rests upon the execution and one's taste for easy entertainment. Regarding the second aspect, Merv targets a specific viewer – individuals who browse regularly for pet content. Audiences receive a wealth of scenes focused on the pet. The central draw is the canine star, and even if it causes some awkward editing between what the dog does and the actors' responses, the movie succeeds in showing walking sequences, pet moping, and, finally, a tail-wagging resolution.
Where It Wobbles
This level of success does not extend for the human side of the story. The tone wavers between emotional depth, wacky comedy, formulaic romance, and silly gags, not quite landing any one mode. This is not Cox's performance, who is admirably committed the silliness and cringe inherent in the dog resort scenario. His performance contains a likable self-deprecation that provides much of the film's charm for this ostensibly perfect couple. Her co-star Deschanel, as is her trademark, brings a distinctive offbeat energy that will be to your taste or not. Her portrayal comes across as a little too aloof, especially when contrasted against Cox's heartfelt sincerity. (It should be noted, Merv himself manages acting depressed – not quite the award-winner from Anatomy of a Fall, he remains a scene-stealer.)
The film attempts to add substance to the couple's history for moments when the dog is absent – which is unfortunate, given that the dog is undoubtedly the most adorable aspect of this cute-aiming movie. Unsurprisingly, it just about gets by. The cause for their original breakup could have been more grounded and mature with greater exploration and fewer direct statements. In the end, Merv is light and sugary, hitting precisely what you anticipate. Creating a movie about dog co-parenting isn't a bad idea – but I wouldn't call it a great one either.
- Merv premieres on Prime Video this December.
