It is a widely held belief among many that co-parenting a canine companion after a breakup is a recipe for trouble. Most will argue such situations impede ex-partners from moving forward, cause practical headaches, fuel disputes, and prove frustrating for all parties. Apparently, as a development worthy of a streaming movie, it can even cause our furry friends to become depressed.
Without minimizing the inner life of animals – many owners attest to their profound sensitivity. For a prime example in pet despair, simply recall a past film. There is little doubt that a dog of Merv's nature, a scruffy terrier type brought to life by Gus the Dog, would have a hard time coping with divided living arrangements. Whether this premise a full holiday film around this situation works effectively remains a questionable prospect.Standard Holiday Fare
Fairness demands noting, Merv, written by Dane Clark and Linsey Stewart and directed by Jessica Swale, doesn't pretend to be anything more than a light film. It functions as a Christmas movie from a major tech-and-media conglomerate – the depth is limited. The narrative is destined to be straightforward: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), realizing that their individual funk is matched by their dog's, decide on a therapeutic trip to a luxury pet hotel. There, inevitably, they will undoubtedly rediscover the idea that they should reunite. Side characters – including Chris Redd, Jasmine Mathews, and others – fulfill roles quirky, thinly written, or broadly comic. The film's look is reminiscent of a platform's in-house production, with a holiday backdrop that is obviously artificial – think obvious snow effects clinging to lush pines as a summer location stands in for a cold December city.
The Dog's Domain
Whether these predictable parts coalesce into a pleasant experience rests upon the execution and the viewer's appetite for comfort viewing. Regarding the second aspect, Merv hones in on a demographic – those people who browse regularly for dog videos. Audiences receive a series of canine-centric sequences. The primary selling point is the canine star, and even if it causes some awkward editing between animal action and the actors' responses, the movie does offer walking sequences, pet moping, and, in the end, pure puppy happiness.
Where It Wobbles
Such effectiveness does not extend for the human side of the story. The tone shifts uneasily between relationship drama, wacky comedy, standard rom-com beats, and silly gags, never fully committing to a consistent feel. This is not Cox's performance, who is willing to embrace the absurd and awkward demanded of the dog resort scenario. Cox exhibits a likable self-deprecation that provides much of the film's charm for this ostensibly perfect couple. Her co-star Deschanel, true to her usual style, imparts a particular brand of eccentricity that will click for some but not others. Her portrayal comes across as a little too aloof, especially when paired with Cox's vulnerable performance. (For what it's worth, Gus the Dog manages acting depressed – while no a canine thespian of that caliber, he remains an excellent dog.)
The story strives to add substance to the central romance for moments when the dog is absent – a bit of a pity, considering the dog is by far the best part of this cute-aiming movie. Expectedly, it just about gets by. The catalyst for the split could have been more grounded and mature with greater exploration and more subtle storytelling. Ultimately, Merv is slight and sweet, meeting every expected note. Creating a movie on this shared-custody premise isn't a bad idea – but it's hardly a great one either.
- Merv premieres on the Amazon platform this December.
