This is a common warning for numerous people that co-parenting a canine companion after a breakup is ill-advised. Experts frequently claim such situations impede former couples from healing, cause practical headaches, lead to tension, and become annoying for everyone involved. Seemingly, and in a twist suited to a streaming movie, it also makes the canine in question to become depressed.
Not to downplay the emotional well-being of dogs – pet parents observe their profound sensitivity. For a masterclass in canine melancholy, consider another performance. I firmly believe that a dog of Merv's nature, a wired-hair terrier mix brought to life by a talented dog named Gus, would struggle adjusting to split households. Whether this premise a full holiday film on such a setup is sustainable remains a questionable prospect.A Familiar Formula
Fairness demands noting, Merv, the work of Dane Clark and Linsey Stewart and directed by playwright Jessica Swale, doesn't pretend to be more profound than what it is. We have here a seasonal offering from a major tech-and-media conglomerate – the complexity remains surface-level. Its storyline unfolds as simple and direct: former spouses Russ, played by Charlie Cox and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is surpassed by their dog's, decide on a therapeutic trip to a luxury pet hotel. Once there, as expected, they will undoubtedly realize the idea that they are better together. Side characters – played by familiar faces – serve as eccentric, underutilized, or over-the-top. Visually is reminiscent of a platform's in-house production, with a holiday backdrop that is visibly contrived – exemplified by fake snow surrounding green trees as North Carolina substitutes for the Northeast.
The Dog's Domain
Whether these familiar elements come together into something enjoyable hinges on the execution and the viewer's appetite for cinematic comfort food. Regarding the second aspect, Merv knows its audience – those people who seek out for pet content. The film delivers a series of scenes focused on the pet. The primary selling point is the canine star, and though it results in some stilted moments between animal action and people's faces, the movie does offer canine party antics, dog depression, and, ultimately, doggie joy.
The Human Element
Such effectiveness cannot be applied for the human side of the story. The tone vacillates between relationship drama, broad humor, standard rom-com beats, and silly gags, not quite landing any one mode. The fault lies not with Cox's performance, who is admirably committed the silliness and cringe required by the bizarre setting. He brings a likable self-deprecation that provides much of the film's charm for this seemingly ideal couple. Anna's portrayer, in her typical fashion, imparts a particular brand of eccentricity that will either resonate with viewers. Her Anna comes across as a touch too detached, especially when contrasted against Cox's vulnerable performance. (For what it's worth, Gus the Dog succeeds in acting depressed – while no the award-winner from Anatomy of a Fall, he is still an excellent dog.)
The film attempts to provide depth to the central romance for moments when the dog is absent – a bit of a pity, considering the dog is easily the best part of this film designed for charm. Unsurprisingly, it achieves only baseline competence. The cause for the split could have been more grounded and mature with greater exploration and fewer direct statements. In the end, Merv is gentle and pleasant, fulfilling every expected note. Making a film on this shared-custody premise has potential – though I wouldn't call it a stroke of genius.
- Merv premieres on Amazon Prime Video this December.
