It is a widely held belief among many that sharing custody a dog post-separation is a recipe for trouble. The consensus suggests such setups impede individuals from finding closure, cause practical headaches, lead to tension, and become annoying for all parties. Seemingly, in a revelation worthy of a direct-to-platform film, it also makes the canine in question to experience sadness.
Not to downplay the emotional well-being of dogs – pet parents speak of their profound sensitivity. To witness a masterclass in canine melancholy, simply recall recent cinema. I firmly believe that a dog such as Merv, a scruffy terrier type brought to life by the canine actor Gus, would have a hard time coping with life in two homes. The idea of basing an entire Christmas romance on such a setup works effectively remains a questionable prospect.Standard Holiday Fare
To its credit, Merv, written by Dane Clark and Linsey Stewart and under the guidance of director Swale, never aspires to be deeper than its premise. We have here a Christmas movie from a major tech-and-media conglomerate – the complexity remains surface-level. The narrative is destined to be straightforward: 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 dog-friendly resort. There, inevitably, they will undoubtedly rediscover the idea that they should reunite. Ensemble players – played by a group of comedic actors – fulfill roles quirky, thinly written, or broadly comic. Its aesthetic carries the feel of a platform's in-house production, with a Christmas setting that is obviously artificial – as seen in fake snow surrounding lush pines as a warm climate stands in for the Northeast.
Where the Film Shines
Whether these familiar elements coalesce into a pleasant experience hinges on the execution and one's taste for cinematic comfort food. On the latter point, Merv targets a specific viewer – the kind who browse regularly for cute animal clips. The film delivers a plethora of scenes focused on the pet. The primary selling point is the canine star, and while this leads to some clunky cuts between the pet's "lines" and people's faces, the movie delivers on canine party antics, canine sorrow, and, in the end, a tail-wagging resolution.
Where It Wobbles
This level of success is not earned for the human side of the story. The tone vacillates between emotional depth, wacky comedy, formulaic romance, and silly gags, failing to master a single genre. This is not Charlie Cox, who is willing to embrace the humiliating and funny required by the bizarre setting. His performance contains a charming humility that supplies the bulk of the chemistry for this on-the-rocks couple. Anna's portrayer, as is her trademark, brings a particular brand of eccentricity that will either resonate with viewers. The character can feel a touch too detached, especially when paired with Cox's vulnerable performance. (On another note, Merv himself manages acting depressed – not quite Messi from that acclaimed drama, he's definitely an excellent dog.)
The story strives to add substance to the central romance for moments when the dog is absent – a bit of a pity, since the dog is by far the cutest element of this feel-good picture. As one might predict, it just about gets by. The cause for their separation would feel more adult and realistic with less exposition and less blunt explanation. In the end, Merv is gentle and pleasant, fulfilling precisely what you anticipate. Crafting a story about dog co-parenting isn't a bad idea – but it's hardly a brilliant concept.
- Merv streams on Prime Video on December 10th.
