This is an often-repeated piece of advice for numerous people that sharing custody a dog after a breakup is a terrible idea. Experts frequently claim such setups impede individuals from finding closure, create logistical nightmares, lead to tension, and are a nuisance for all parties. Apparently, in a revelation suited to a direct-to-platform film, it also makes the dogs themselves to become depressed.
While respecting the mental health of animals – pet parents speak of their deep emotional capacity. For a standout portrayal in canine melancholy, simply recall another performance. There is little doubt that a dog like Merv, a scruffy terrier type played by Gus the Dog, would have a hard time adjusting to life in two homes. The idea of basing an entire Christmas romance on such a setup is sustainable is a questionable prospect.A Familiar Formula
Honestly, Merv, written by Dane Clark and Linsey Stewart and helmed by playwright Jessica Swale, doesn't pretend to be more profound than what it is. We have here a holiday release from a streaming platform giant – the complexity are modest. The plot proves to be simple and direct: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their own sadness is rivaled only by their dog's, embark on a therapeutic trip to a canine-centric retreat. At this location, predictably, they will presumably realize the idea that they should reunite. Side characters – played by familiar faces – are crafted as quirky, thinly written, or broadly comic. Its aesthetic is reminiscent of a branded content, with a holiday backdrop that is visibly contrived – as seen in obvious snow effects piled on green trees as North Carolina substitutes for a cold December city.
The Dog's Domain
Whether these standard ingredients merge into something enjoyable depends on the actors' work and an acceptance of cinematic comfort food. For the comfort factor, Merv targets a specific viewer – the kind who scroll endlessly for dog videos. The film delivers a plethora of canine-centric sequences. The main attraction is the canine star, and though it results in some clunky cuts between animal action and the actors' responses, the movie succeeds in showing walking sequences, canine sorrow, and, in the end, a tail-wagging resolution.
Where It Wobbles
This level of success is not earned for the interpersonal drama. Its style wavers between serious study, zany antics, predictable love story, and silly gags, never fully committing to any one mode. This is not Cox's performance, who is admirably committed the absurd and awkward demanded of the unusual premise. Cox exhibits a likable self-deprecation that provides much of the film's charm for this on-the-rocks couple. Her co-star Deschanel, true to her usual style, brings a distinctive offbeat energy that will be to your taste or not. Her portrayal can feel a little too aloof, notably when contrasted against Cox's genuine sadness. (It should be noted, the canine performer is convincing at flopping and whining – while no a canine thespian of that caliber, he's definitely a scene-stealer.)
The film attempts to add substance to the central romance for moments when the dog is absent – which is unfortunate, considering the dog is by far the cutest element of this cute-aiming movie. Unsurprisingly, it achieves only baseline competence. The reason for the split could have been more adult and realistic with greater exploration and fewer direct statements. In the end, Merv is slight and sweet, meeting all its marks. Making a film with this canine conflict is not terrible – though it's hardly a brilliant concept.
- Merv becomes available on Prime Video on December 10th.
