This is an often-repeated piece of advice for numerous people that sharing custody a dog after a breakup is ill-advised. Experts frequently claim such arrangements hinder individuals from finding closure, create logistical nightmares, fuel disputes, and are a nuisance for all parties. Apparently, and in a twist suited to a direct-to-platform film, it reportedly leads to our furry friends to become depressed.
While respecting the mental health of our pets – countless people observe their remarkable empathy. To witness a masterclass in canine melancholy, simply recall recent cinema. There is little doubt that a dog of Merv's nature, a wired-hair terrier mix brought to life by Gus the Dog, would have a hard time adjusting to life in two homes. Whether this premise a feature-length romcom on such a setup works effectively remains a questionable prospect.Standard Holiday Fare
Honestly, Merv, written by Dane Clark and Linsey Stewart and helmed by director Swale, never aspires to be more profound than what it is. It functions as a Christmas movie from a streaming platform giant – the complexity is limited. The narrative unfolds as uncomplicated: exes Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is matched by their dog's, embark on a uplifting getaway to a luxury pet hotel. Once there, as expected, they will undoubtedly stumble toward the idea that they are better together. The supporting cast – played by Chris Redd, Jasmine Mathews, and others – are crafted as quirky, thinly written, or broadly comic. The film's look carries the feel of a branded content, with a Christmas setting that is clearly manufactured – as seen in fake snow surrounding green trees as a warm climate doubles as a wintery Boston.
The Dog's Domain
If these standard ingredients merge into something enjoyable hinges on the execution and the viewer's appetite for easy entertainment. Regarding the second aspect, Merv knows its audience – the kind who seek out for pet content. It provides a series of canine-centric sequences. The main attraction is Merv himself, and even if it causes some awkward editing between animal action and people's faces, the movie succeeds in showing dog beach fun, canine sorrow, and, finally, a tail-wagging resolution.
Where It Wobbles
The same praise cannot be applied for the romantic plot. The tone vacillates between emotional depth, broad humor, standard rom-com beats, and outright slapstick, failing to master a consistent feel. This is not Charlie Cox, who is willing to embrace the humiliating and funny inherent in the unusual premise. His performance contains a likable self-deprecation that provides the bulk of the chemistry for this ostensibly perfect couple. Anna's portrayer, true to her usual style, imparts a particular brand of eccentricity that will either resonate with viewers. The character can feel a little too aloof, notably when contrasted against Cox's heartfelt sincerity. (On another note, Merv himself manages looking despondent – not quite the award-winner from Anatomy of a Fall, he is still an excellent dog.)
The film attempts to give weight to the couple's history for scenes without their pet – a bit of a pity, considering Merv is undoubtedly the most adorable aspect of this feel-good picture. As one might predict, it meets the bare minimum. The catalyst for their separation might seem more grounded and mature with less exposition and fewer direct statements. In the end, Merv is gentle and pleasant, meeting every expected note. Making a film with this canine conflict isn't a bad idea – even if I wouldn't call it a brilliant concept.
- Merv streams on Prime Video this December.
