This is a common warning in certain circles that sharing custody a pet following a split is a terrible idea. The consensus suggests such situations prevent ex-partners from finding closure, cause practical headaches, fuel disputes, and are a nuisance for everyone involved. Seemingly, and in a twist worthy of a streaming movie, it can even cause the dogs themselves to become depressed.
Not to downplay the emotional well-being of our pets – countless people observe their deep emotional capacity. If you need prime example in dog sorrow, simply recall recent cinema. I firmly believe that a dog like Merv, a scruffy terrier type portrayed by Gus the Dog, would have a hard time adapting to split households. Whether this premise a feature-length romcom around this situation is sustainable remains rather doubtful.Standard Holiday Fare
Fairness demands noting, Merv, the work of the writing duo and directed by Jessica Swale, never aspires to be more profound than what it is. It functions as a seasonal offering from a major tech-and-media conglomerate – the depth remains surface-level. Its storyline unfolds as simple and direct: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, realizing that their own sadness is surpassed by their dog's, embark on a uplifting getaway to a luxury pet hotel. Once there, as expected, they will undoubtedly rediscover the idea that they are better together. The supporting cast – featuring a group of comedic actors – fulfill roles quirky, thinly written, or broadly comic. Visually is reminiscent of a platform's in-house production, with a holiday backdrop that is clearly manufactured – exemplified by fake snow surrounding green trees as North Carolina doubles as a wintery Boston.
The Dog's Domain
If these standard ingredients come together into something enjoyable hinges on the actors' work and the viewer's appetite for easy entertainment. For the comfort factor, Merv hones in on a demographic – the kind who scroll endlessly for dog videos. The film delivers a plethora of canine-centric sequences. The main attraction is the dog, and though it results in some stilted moments between animal action and people's faces, the movie does offer walking sequences, canine sorrow, and, finally, doggie joy.
Where It Wobbles
This level of success cannot be applied for the interpersonal drama. The tone shifts uneasily between serious study, broad humor, formulaic romance, and silly gags, never fully committing to a single genre. No blame falls on Cox's performance, who is admirably committed the absurd and awkward inherent in the unusual premise. He brings 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, injects a certain millennial quirkiness that will either resonate with viewers. Her portrayal comes across as a little too aloof, notably when alongside Cox's genuine sadness. (It should be noted, the canine performer succeeds in acting depressed – he may not be a canine thespian of that caliber, he remains a very good boy.)
The story strives to provide depth to the central romance for moments when the dog is absent – a regrettable choice, since the title character is by far the most adorable aspect of this film designed for charm. As one might predict, it achieves only baseline competence. The cause for the split would feel more grounded and mature with greater exploration and more subtle storytelling. In the end, Merv is light and sugary, meeting all its marks. Making a film with this canine conflict isn't a bad idea – though I wouldn't call it a great one either.
- Merv premieres on Amazon Prime Video on December 10th.
