It is a common warning for numerous people that co-parenting a canine companion after a breakup is a recipe for trouble. The consensus suggests such situations hinder former couples from finding closure, lead to scheduling chaos, spark arguments, and are a nuisance for all parties. Apparently, as a development suited to a direct-to-platform film, it can even cause the dogs themselves to experience sadness.
Not to downplay the inner life of dogs – pet parents observe their deep emotional capacity. To witness a standout portrayal in canine melancholy, simply recall a past film. There is little doubt that a dog such as Merv, a wired-hair terrier mix brought to life by Gus the Dog, would find it difficult adjusting to life in two homes. If this concept a full holiday film on this conflict works effectively is debatable at best.Standard Holiday Fare
To its credit, Merv, crafted by its screenwriters and directed by Jessica Swale, never aspires to be more profound than what it is. It functions as a Christmas movie from a corporate studio – the complexity are modest. Its storyline proves to be uncomplicated: exes Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, realizing that their individual funk is matched by their dog's, decide on a therapeutic trip to a dog-friendly resort. At this location, predictably, they will surely rediscover the idea that they are better together. Side characters – featuring Chris Redd, Jasmine Mathews, and others – are crafted as quirky, thinly written, or broadly comic. The film's look carries the feel of a platform's in-house production, with a holiday backdrop that is obviously artificial – think flurries clinging to green trees as North Carolina doubles as the Northeast.
The Dog's Domain
Whether these predictable parts merge into something enjoyable hinges on the execution and the viewer's appetite for cinematic comfort food. On the latter point, Merv targets a specific viewer – those people who scroll endlessly for dog videos. Audiences receive a wealth of canine-centric sequences. The primary selling point is Merv himself, and while this leads to some stilted moments between the pet's "lines" and human reaction, the movie succeeds in showing canine party antics, pet moping, and, finally, a tail-wagging resolution.
Where It Wobbles
This level of success cannot be applied for the human side of the story. Its style wavers between serious study, zany antics, predictable love story, and physical comedy, never fully committing to any one mode. The fault lies not with Charlie Cox, who is fully game the silliness and cringe inherent in the dog resort scenario. He brings a likable self-deprecation that provides the bulk of the chemistry for this ostensibly perfect couple. Zooey Deschanel, as is her trademark, injects a particular brand of eccentricity that will either resonate with viewers. Her Anna can feel a bit too dry, particularly when paired with Cox's genuine sadness. (It should be noted, Gus the Dog succeeds in looking despondent – not quite the award-winner from Anatomy of a Fall, he remains a scene-stealer.)
The film attempts to add substance to the central romance for sequences focusing solely on them – a regrettable choice, considering the dog is by far the best part of this film designed for charm. Unsurprisingly, it meets the bare minimum. The reason for their separation might seem more grounded and mature with greater exploration and less blunt explanation. In the end, Merv is slight and sweet, fulfilling all its marks. Crafting a story on this shared-custody premise has potential – even if it's hardly a stroke of genius.
- Merv streams on Prime Video on December 10th.
