This is a widely held belief for numerous people that sharing custody a canine companion post-separation is a terrible idea. The consensus suggests such situations prevent former couples from healing, create logistical nightmares, spark arguments, and become annoying for everyone involved. Apparently, and in a twist fit for a direct-to-platform film, it also makes the dogs themselves to feel down.
Without minimizing the emotional well-being of animals – pet parents attest to their deep emotional capacity. To witness a masterclass in pet despair, consider a past film. It seems certain that a dog like Merv, a wired-hair terrier mix portrayed by a talented dog named Gus, would have a hard time adjusting to life in two homes. If this concept an entire Christmas romance around this situation holds water seems debatable at best.Predictable Foundations
To its credit, Merv, crafted by its screenwriters and directed by playwright Jessica Swale, doesn't pretend to be deeper than a light film. This is a holiday release from a major tech-and-media conglomerate – the depth remains surface-level. The narrative proves to be simple and direct: a separated couple Russ, played by Charlie Cox and Anna (Zooey Deschanel), confronting that their own sadness is surpassed by their dog's, embark on a uplifting getaway to a canine-centric retreat. Once there, as expected, they will undoubtedly rediscover the idea that they are better together. Ensemble players – including familiar faces – fulfill roles eccentric, underutilized, or over-the-top. Visually has the quality of a platform's in-house production, with a holiday backdrop that is obviously artificial – as seen in flurries surrounding green trees as a summer location substitutes for a wintery Boston.
The Dog's Domain
If these predictable parts coalesce into something enjoyable hinges on the strength of the performances and one's taste for easy entertainment. Regarding the second aspect, Merv knows its audience – individuals who scroll endlessly for cute animal clips. It provides a plethora of canine-centric sequences. The central draw is Merv himself, and even if it causes some stilted moments between what the dog does and people's faces, the movie does offer dog beach fun, canine sorrow, and, ultimately, a tail-wagging resolution.
The Two-Legged Cast
This level of success does not extend for the romantic plot. The tone vacillates between serious study, wacky comedy, standard rom-com beats, and silly gags, never fully committing to a consistent feel. No blame falls on Cox's performance, who is fully game the silliness and cringe demanded of the bizarre setting. Cox exhibits a likable self-deprecation that offers a significant portion of the appeal for this ostensibly perfect couple. Anna's portrayer, as is her trademark, injects a particular brand of eccentricity that will click for some but not others. Her portrayal can feel a bit too dry, particularly when alongside Cox's vulnerable performance. (For what it's worth, Merv himself is convincing at acting depressed – while no a canine thespian of that caliber, he remains a scene-stealer.)
Merv tries to add substance to the central romance for scenes without their pet – which is unfortunate, since the dog is by far the best part of this feel-good picture. Unsurprisingly, it meets the bare minimum. The cause for their separation might seem more nuanced with greater exploration and more subtle storytelling. As it stands, Merv is slight and sweet, meeting all its marks. Making a film on this shared-custody premise has potential – even if I wouldn't call it a great one either.
- Merv streams on the Amazon platform on December 10th.
