It is an often-repeated piece of advice for numerous people that sharing custody a canine companion following a split is ill-advised. Most will argue such setups hinder individuals from finding closure, cause practical headaches, lead to tension, and prove frustrating across the board. Seemingly, in a revelation fit for a direct-to-platform film, it also makes the dogs themselves to experience sadness.
While respecting the inner life of animals – pet parents attest to their remarkable empathy. For a prime example in canine melancholy, consider recent cinema. It seems certain that a dog such as Merv, a wired-hair terrier mix played by Gus the Dog, would have a hard time adapting to life in two homes. If this concept an entire Christmas romance around this situation holds water is debatable at best.Standard Holiday Fare
Honestly, Merv, crafted by the writing duo and helmed by playwright Jessica Swale, doesn't pretend to be more profound than a light film. It functions as a Christmas movie from a major tech-and-media conglomerate – the depth remains surface-level. The plot unfolds as simple and direct: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, realizing that their post-breakup gloom is matched by their dog's, take a cheer-up vacation to a luxury pet hotel. At this location, predictably, they will surely rediscover the idea that they belong with each other. Ensemble players – including familiar faces – fulfill roles eccentric, underutilized, or over-the-top. Its aesthetic carries the feel of a streaming service original, with a holiday backdrop that is obviously artificial – as seen in flurries clinging to lush pines as North Carolina substitutes for the Northeast.
The Dog's Domain
How these standard ingredients coalesce into a pleasant experience hinges on the execution and an acceptance of comfort viewing. Regarding the second aspect, Merv hones in on a demographic – individuals who browse regularly for pet content. The film delivers a plethora of scenes focused on the pet. The central draw is Merv himself, and while this leads to some stilted moments between what the dog does and people's faces, the movie succeeds in showing canine party antics, dog depression, and, finally, doggie joy.
The Human Element
Such effectiveness cannot be applied for the human side of the story. The tone vacillates between emotional depth, wacky comedy, predictable love story, and physical comedy, failing to master any one mode. The fault lies not with 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 supplies much of the film's charm for this ostensibly perfect couple. Anna's portrayer, in her typical fashion, injects a certain millennial quirkiness that will click for some but not others. Her portrayal comes across as a touch too detached, especially when paired with Cox's heartfelt sincerity. (On another note, Merv himself succeeds in flopping and whining – not quite a canine thespian of that caliber, he is still a scene-stealer.)
Merv tries to give weight to Anna and Russ's relationship for sequences focusing solely on them – which is unfortunate, considering the title character is undoubtedly the best part of this feel-good picture. Unsurprisingly, it meets the bare minimum. The reason for their original breakup would feel more grounded and mature with more screen time and more subtle storytelling. Ultimately, Merv is light and sugary, hitting all its marks. Making a film on this shared-custody premise is not terrible – but it's hardly a brilliant concept.
- Merv becomes available on the Amazon platform this December.
