This is a common warning for numerous people that co-parenting a dog following a split is ill-advised. Experts frequently claim such situations hinder individuals from finding closure, cause practical headaches, lead to tension, and become annoying for everyone involved. Apparently, in a revelation suited to a direct-to-platform film, it reportedly leads to the dogs themselves to become depressed.
Not to downplay the inner life of dogs – countless people attest to their deep emotional capacity. To witness a masterclass in dog sorrow, simply recall recent cinema. There is little doubt that a dog such as Merv, a scruffy terrier type portrayed by Gus the Dog, would struggle adapting to divided living arrangements. The idea of basing a full holiday film on this conflict works effectively remains a questionable prospect.Predictable Foundations
Fairness demands noting, Merv, the work of its screenwriters and directed 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 remains surface-level. The narrative proves to be straightforward: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their own sadness is rivaled only by their dog's, decide on a therapeutic trip to a dog-friendly resort. At this location, predictably, they will presumably realize the idea that they are better together. Ensemble players – featuring familiar faces – fulfill roles the usual assortment of types. Its aesthetic carries the feel of a platform's in-house production, with a Christmas setting that is clearly manufactured – exemplified by obvious snow effects surrounding verdant foliage as a warm climate stands in for the Northeast.
Where the Film Shines
If these standard ingredients merge into something enjoyable rests upon the actors' work and the viewer's appetite for easy entertainment. On the latter point, Merv hones in on a demographic – those people who seek out for dog videos. It provides a plethora of adorable dog montages. The central draw is the canine star, and even if it causes some clunky cuts between animal action and the actors' responses, the movie does offer dog beach fun, dog depression, and, in the end, a tail-wagging resolution.
Where It Wobbles
Such effectiveness is not earned for the romantic plot. The film's approach shifts uneasily between relationship drama, broad humor, formulaic romance, and physical comedy, not quite landing a consistent feel. The fault lies not with the actor playing Russ, who is fully game the humiliating and funny demanded of the bizarre setting. Cox exhibits a charming humility that provides much of the film's charm for this ostensibly perfect couple. Her co-star Deschanel, as is her trademark, imparts a certain millennial quirkiness that will click for some but not others. Her Anna can feel a little too aloof, particularly when contrasted against Cox's vulnerable performance. (For what it's worth, the canine performer succeeds in acting depressed – not quite the award-winner from Anatomy of a Fall, he's definitely an excellent dog.)
The film attempts to provide depth to Anna and Russ's relationship for moments when the dog is absent – a bit of a pity, given that the dog is by far the most adorable aspect of this feel-good picture. As one might predict, it achieves only baseline competence. The catalyst for their original breakup might seem more nuanced with less exposition and less blunt explanation. As it stands, Merv is light and sugary, hitting every expected note. Crafting a story about dog co-parenting has potential – even if I wouldn't call it a stroke of genius.
- Merv premieres on Prime Video this December.
