It is a common warning in certain circles that co-parenting a dog following a split is a recipe for trouble. Experts frequently claim such setups prevent individuals from moving forward, cause practical headaches, spark arguments, and are a nuisance for all parties. Apparently, in a revelation fit for a direct-to-platform film, it can even cause our furry friends to feel down.
While respecting the inner life of dogs – pet parents observe their remarkable empathy. To witness a standout portrayal in pet despair, simply recall a past film. I firmly believe that a dog such as Merv, a spirited little dog brought to life by Gus the Dog, would find it difficult coping with life in two homes. Whether this premise a full holiday film on such a setup holds water remains rather doubtful.Standard Holiday Fare
Fairness demands noting, Merv, the work of its screenwriters and helmed by playwright Jessica Swale, makes no grand claims more profound than a light film. It functions as a seasonal offering from a corporate studio – the depth is limited. The narrative unfolds as uncomplicated: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their own sadness is surpassed by their dog's, embark on a therapeutic trip to a dog-friendly resort. At this location, predictably, they will presumably stumble toward the idea that they belong with each other. Ensemble players – played by familiar faces – are crafted as quirky, thinly written, or broadly comic. Visually is reminiscent of a streaming service original, with a holiday backdrop that is visibly contrived – think fake snow clinging to green trees as a warm climate stands in for the Northeast.
The Dog's Domain
Whether these predictable parts merge into an entertaining watch rests upon the strength of the performances and the viewer's appetite for comfort viewing. For the comfort factor, Merv knows its audience – individuals who scroll endlessly for cute animal clips. Audiences receive a wealth of adorable dog montages. The primary selling point is the canine star, and though it results in some clunky cuts between animal action and the actors' responses, the movie does offer walking sequences, canine sorrow, and, in the end, doggie joy.
The Human Element
Such effectiveness is not earned for the human side of the story. Its style shifts uneasily between relationship drama, broad humor, formulaic romance, and physical comedy, never fully committing to any one mode. No blame falls on Charlie Cox, who is admirably committed the humiliating and funny demanded of the unusual premise. His performance contains a endearing lack of ego that supplies much of the film's charm for this seemingly ideal couple. Her co-star Deschanel, in her typical fashion, imparts a particular brand of eccentricity that will either resonate with viewers. Her Anna seems a touch too detached, particularly when contrasted against Cox's heartfelt sincerity. (For what it's worth, Merv himself succeeds in acting depressed – he may not be a canine thespian of that caliber, he's definitely an excellent dog.)
Merv tries to give weight to the couple's history for scenes without their pet – a bit of a pity, given that the title character is easily the best part of this cute-aiming movie. Expectedly, it just about gets by. The cause for the split could have been more nuanced with less exposition and more subtle storytelling. In the end, Merv is slight and sweet, meeting precisely what you anticipate. Creating a movie with this canine conflict is not terrible – even if it's hardly a great one either.
- Merv streams on Prime Video this December.
