It is a widely held belief in certain circles that co-parenting a dog after a breakup is a terrible idea. The consensus suggests such situations impede ex-partners from healing, lead to scheduling chaos, fuel disputes, and are a nuisance for all parties. Seemingly, and in a twist suited to a direct-to-platform film, it can even cause our furry friends to feel down.
Without minimizing the mental health of dogs – many owners observe their remarkable empathy. To witness a masterclass in pet despair, simply recall recent cinema. It seems certain that a dog such as Merv, a spirited little dog played by a talented dog named Gus, would struggle coping with divided living arrangements. If this concept an entire Christmas romance around this situation holds water is a questionable prospect.Predictable Foundations
Fairness demands noting, Merv, written by Dane Clark and Linsey Stewart and helmed by 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 ambitions is limited. The plot unfolds as uncomplicated: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is surpassed by their dog's, decide on a therapeutic trip to a canine-centric retreat. There, inevitably, they will surely realize the idea that they belong with each other. Ensemble players – featuring familiar faces – serve as quirky, thinly written, or broadly comic. Visually carries the feel of a streaming service original, with a holiday backdrop that is obviously artificial – exemplified by flurries piled on verdant foliage as a summer location stands in for the Northeast.
The Dog's Domain
Whether these predictable parts coalesce into something enjoyable hinges on the strength of the performances and one's taste for easy entertainment. On the latter point, Merv targets a specific viewer – individuals who browse regularly for dog videos. The film delivers a series of adorable dog montages. The primary selling point is Merv himself, and while this leads to some clunky cuts between the pet's "lines" and the actors' responses, the movie succeeds in showing walking sequences, canine sorrow, and, finally, pure puppy happiness.
Where It Wobbles
The same praise is not earned for the interpersonal drama. The tone shifts uneasily between emotional depth, broad humor, standard rom-com beats, and physical comedy, not quite landing any one mode. No blame falls on Cox's performance, who is fully game the silliness and cringe demanded of the unusual premise. His performance contains a likable self-deprecation that provides a significant portion of the appeal for this on-the-rocks couple. Anna's portrayer, true to her usual style, imparts a particular brand of eccentricity that will click for some but not others. The character seems a bit too dry, notably when paired with Cox's genuine sadness. (It should be noted, Gus the Dog manages flopping and whining – he may not be a canine thespian of that caliber, he is still a very good boy.)
The story strives to add substance to the couple's history for scenes without their pet – a regrettable choice, since the dog is by far the cutest element of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The catalyst for the split could have been more grounded and mature with more screen time and more subtle storytelling. In the end, Merv is gentle and pleasant, hitting every expected note. Making a film on this shared-custody premise isn't a bad idea – though I wouldn't call it a stroke of genius.
- Merv streams on Amazon Prime Video this December.
