It is an often-repeated piece of advice in certain circles that sharing custody a canine companion post-separation is a terrible idea. The consensus suggests such situations prevent former couples from healing, cause practical headaches, spark arguments, and become annoying across the board. As it turns out, and in a twist fit for a direct-to-platform film, it can even cause the canine in question to become depressed.
While respecting the mental health of our pets – countless people attest to their remarkable empathy. To witness a masterclass in canine melancholy, consider another performance. There is little doubt that a dog of Merv's nature, a scruffy terrier type played by a talented dog named Gus, would struggle coping with life in two homes. If this concept an entire Christmas romance on this conflict is sustainable is rather doubtful.Predictable Foundations
Fairness demands noting, Merv, the work of Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, never aspires to be deeper than what it is. This is a seasonal offering from a major tech-and-media conglomerate – the depth is limited. The plot proves to be uncomplicated: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their own sadness is surpassed by their dog's, decide on a uplifting getaway to a luxury pet hotel. At this location, predictably, they will undoubtedly realize the idea that they should reunite. Ensemble players – featuring a group of comedic actors – are crafted as quirky, thinly written, or broadly comic. Visually is reminiscent of a branded content, with a Christmas setting that is obviously artificial – exemplified by fake snow clinging to verdant foliage as a warm climate stands in for a cold December city.
The Dog's Domain
Whether these predictable parts merge into something enjoyable depends on the actors' work and an acceptance of cinematic comfort food. Regarding the second aspect, Merv knows its audience – the kind who seek out for pet content. The film delivers a series of scenes focused on the pet. The main attraction is the dog, and though it results in some clunky cuts between what the dog does and people's faces, the movie does offer dog beach fun, dog depression, and, finally, doggie joy.
The Human Element
The same praise cannot be applied for the interpersonal drama. Its style wavers between emotional depth, zany antics, formulaic romance, and outright slapstick, never fully committing to a single genre. No blame falls on Cox's performance, who is admirably committed the silliness and cringe inherent in the bizarre setting. He brings a likable self-deprecation that supplies much of the film's charm for this seemingly ideal couple. Anna's portrayer, true to her usual style, brings a certain millennial quirkiness that will be to your taste or not. The character can feel a bit too dry, particularly when contrasted against Cox's genuine sadness. (It should be noted, Gus the Dog manages flopping and whining – he may not be Messi from that acclaimed drama, he's definitely a very good boy.)
The story strives to give weight to the couple's history for sequences focusing solely on them – a bit of a pity, given that Merv is undoubtedly the cutest element of this film designed for charm. As one might predict, it just about gets by. The reason for their separation could have been more grounded and mature with greater exploration and fewer direct statements. In the end, Merv is light and sugary, fulfilling all its marks. Crafting a story about dog co-parenting isn't a bad idea – but it's hardly a stroke of genius.
- Merv premieres on Amazon Prime Video this December.
