It is an often-repeated piece of advice in certain circles that sharing custody a dog following a split is a terrible idea. Experts frequently claim such setups prevent ex-partners from moving forward, cause practical headaches, lead to tension, and are a nuisance for all parties. Seemingly, as a development fit for a direct-to-platform film, it also makes our furry friends to experience sadness.
Not to downplay the mental health of animals – pet parents observe their deep emotional capacity. For a prime example in pet despair, simply recall recent cinema. It seems certain that a dog such as Merv, a wired-hair terrier mix portrayed by the canine actor Gus, would struggle adjusting to split households. Whether this premise a full holiday film on this conflict works effectively remains debatable at best.Standard Holiday Fare
Honestly, Merv, written by Dane Clark and Linsey Stewart and helmed by director Swale, makes no grand claims anything more than what it is. This is a seasonal offering from a major tech-and-media conglomerate – the ambitions are modest. The narrative proves to be uncomplicated: exes Russ, played by Charlie Cox and Anna, portrayed by Zooey Deschanel, realizing that their individual funk is surpassed by their dog's, decide on a therapeutic trip to a luxury pet hotel. At this location, predictably, they will surely realize the idea that they belong with each other. Ensemble players – including Chris Redd, Jasmine Mathews, and others – fulfill roles the usual assortment of types. Its aesthetic carries the feel of a platform's in-house production, with a Christmas setting that is clearly manufactured – as seen in obvious snow effects piled on verdant foliage as a warm climate stands in for a cold December city.
The Dog's Domain
If these predictable parts merge into an entertaining watch hinges on the actors' work and one's taste for cinematic comfort food. Regarding the second aspect, Merv hones in on a demographic – those people who scroll endlessly for pet content. The film delivers a plethora of canine-centric sequences. The central draw is the dog, and while this leads to some clunky cuts between the pet's "lines" and people's faces, the movie does offer dog beach fun, dog depression, and, in the end, pure puppy happiness.
The Two-Legged Cast
Such effectiveness cannot be applied for the interpersonal drama. The film's approach vacillates between relationship drama, broad humor, standard rom-com beats, and silly gags, never fully committing to a single genre. This is not Cox's performance, who is fully game the silliness and cringe demanded of the bizarre setting. He brings a endearing lack of ego that supplies a significant portion of the appeal for this ostensibly perfect couple. Her co-star Deschanel, in her typical fashion, injects a certain millennial quirkiness that will be to your taste or not. Her portrayal seems a bit too dry, notably when paired with Cox's vulnerable performance. (On another note, Gus the Dog is convincing at flopping and whining – not quite a canine thespian of that caliber, he's definitely a very good boy.)
The story strives to provide depth to the central romance for moments when the dog is absent – which is unfortunate, since the dog is by far the cutest element of this feel-good picture. Expectedly, it achieves only baseline competence. The catalyst for the split could have been more nuanced with more screen time and fewer direct statements. In the end, Merv is slight and sweet, fulfilling precisely what you anticipate. Making a film on this shared-custody premise isn't a bad idea – though I wouldn't call it a stroke of genius.
- Merv streams on the Amazon platform on December 10th.
