It is a widely held belief in certain circles that sharing custody a pet post-separation is a recipe for trouble. Most will argue such setups prevent individuals from finding closure, create logistical nightmares, lead to tension, and become annoying across the board. As it turns out, and in a twist suited to a direct-to-platform film, it also makes our furry friends to feel down.
Without minimizing the mental health of dogs – many owners observe their remarkable empathy. If you need standout portrayal in pet despair, simply recall recent cinema. I firmly believe that a dog like Merv, a spirited little dog played by Gus the Dog, would struggle adapting to divided living arrangements. If this concept a full holiday film on such a setup is sustainable is a questionable prospect.Predictable Foundations
To its credit, Merv, written by Dane Clark and Linsey Stewart and under the guidance of playwright Jessica Swale, never aspires to be more profound than a light film. It functions as a Christmas movie from a streaming platform giant – the complexity is limited. Its storyline proves to be 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, take a uplifting getaway to a canine-centric retreat. At this location, predictably, they will undoubtedly realize the idea that they should reunite. Ensemble players – including familiar faces – serve as the usual assortment of types. Its aesthetic is reminiscent of a branded content, with a Christmas setting that is obviously artificial – think flurries surrounding green trees as a summer location doubles as the Northeast.
The Dog's Domain
If these predictable parts come together into something enjoyable hinges on the execution and an acceptance of comfort viewing. For the comfort factor, Merv knows its audience – individuals who seek out for cute animal clips. The film delivers a plethora of adorable dog montages. The central draw is the canine star, and though it results in some stilted moments between what the dog does and people's faces, the movie does offer canine party antics, canine sorrow, and, in the end, a tail-wagging resolution.
Where It Wobbles
Such effectiveness is not earned for the interpersonal drama. The film's approach shifts uneasily between relationship drama, broad humor, predictable love story, and outright slapstick, never fully committing to a single genre. No blame falls on Charlie Cox, who is admirably committed the silliness and cringe required by the dog resort scenario. He brings a endearing lack of ego that provides the bulk of the chemistry for this on-the-rocks couple. Anna's portrayer, as is her trademark, imparts a particular brand of eccentricity that will be to your taste or not. Her portrayal comes across as a little too aloof, especially when paired with Cox's genuine sadness. (For what it's worth, Merv himself manages acting depressed – while no Messi from that acclaimed drama, he remains a scene-stealer.)
The story strives to give weight to the central romance for sequences focusing solely on them – a bit of a pity, since Merv is by far the best part of this film designed for charm. Unsurprisingly, it meets the bare minimum. The reason for their separation might seem more adult and realistic with more screen time and fewer direct statements. As it stands, Merv is gentle and pleasant, fulfilling all its marks. Making a film on this shared-custody premise has potential – but I wouldn't call it a stroke of genius.
- Merv streams on Amazon Prime Video on December 10th.
