It is a common warning among many that sharing custody a canine companion following a split is a terrible idea. Most will argue such setups prevent individuals from moving forward, cause practical headaches, lead to tension, and prove frustrating for everyone involved. Seemingly, in a revelation suited to a direct-to-platform film, it also makes the dogs themselves to experience sadness.
Not to downplay the inner life of animals – pet parents speak of their deep emotional capacity. To witness a masterclass in pet despair, simply recall a past film. I firmly believe that a dog like Merv, a scruffy terrier type portrayed by the canine actor Gus, would find it difficult coping with divided living arrangements. The idea of basing an entire Christmas romance on such a setup is sustainable seems debatable at best.A Familiar Formula
To its credit, Merv, the work of its screenwriters and helmed by playwright Jessica Swale, never aspires to be more profound than what it is. It functions as a seasonal offering from a major tech-and-media conglomerate – the depth remains surface-level. The plot proves to be uncomplicated: former spouses Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, confronting that their post-breakup gloom is matched by their dog's, embark on a uplifting getaway to a luxury pet hotel. Once there, as expected, they will presumably stumble toward the idea that they belong with each other. Side characters – featuring familiar faces – are crafted as eccentric, underutilized, or over-the-top. The film's look carries the feel of a branded content, with a wintry atmosphere that is visibly contrived – as seen in flurries clinging to green trees as a warm climate substitutes for a cold December city.
Where the Film Shines
How these predictable parts coalesce into a pleasant experience depends on the execution and the viewer's appetite for easy entertainment. For the comfort factor, Merv knows its audience – individuals who scroll endlessly for cute animal clips. Audiences receive a plethora of canine-centric sequences. The central draw is the dog, and while this leads to some stilted moments between what the dog does and the actors' responses, the movie succeeds in showing canine party antics, canine sorrow, and, in the end, doggie joy.
The Human Element
Such effectiveness cannot be applied for the interpersonal drama. Its style shifts uneasily between serious study, broad humor, standard rom-com beats, and silly gags, failing to master a consistent feel. The fault lies not with Cox's performance, who is fully game the absurd and awkward required by the dog resort scenario. 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, imparts a distinctive offbeat energy that will either resonate with viewers. Her Anna seems a touch too detached, especially when alongside Cox's heartfelt sincerity. (For what it's worth, Merv himself is convincing at flopping and whining – he may not be the award-winner from Anatomy of a Fall, he is still an excellent dog.)
Merv tries to add substance to the central romance for scenes without their pet – which is unfortunate, considering Merv is by far the best part of this feel-good picture. As one might predict, it achieves only baseline competence. The cause for the split would feel more nuanced with greater exploration and more subtle storytelling. In the end, Merv is light and sugary, hitting every expected note. Making a film with this canine conflict is not terrible – but it's not exactly a great one either.
- Merv premieres on the Amazon platform on December 10th.
