It is an often-repeated piece of advice for numerous people that co-parenting a canine companion post-separation is a terrible idea. The consensus suggests such situations prevent individuals from finding closure, lead to scheduling chaos, fuel disputes, and are a nuisance across the board. Apparently, and in a twist suited to a direct-to-platform film, it reportedly leads to the canine in question to become depressed.
Not to downplay the mental health of our pets – pet parents attest to their remarkable empathy. For a masterclass in canine melancholy, simply recall another performance. I firmly believe that a dog like Merv, a scruffy terrier type brought to life by Gus the Dog, would struggle adapting to divided living arrangements. Whether this premise a full holiday film on this conflict is sustainable seems rather doubtful.Predictable Foundations
To its credit, Merv, the work of the writing duo and under the guidance of playwright Jessica Swale, doesn't pretend to be more profound than what it is. This is a Christmas movie from a corporate studio – the complexity are modest. The plot unfolds as straightforward: former spouses Russ (Charlie Cox) and Anna, portrayed by Zooey Deschanel, forced to acknowledge that their post-breakup gloom is rivaled only by their dog's, decide on a therapeutic trip to a canine-centric retreat. Once there, as expected, they will surely realize the idea that they belong with each other. Side characters – featuring Chris Redd, Jasmine Mathews, and others – are crafted as eccentric, underutilized, or over-the-top. The film's look is reminiscent of a streaming service original, with a holiday backdrop that is visibly contrived – exemplified by obvious snow effects clinging to green trees as a summer location substitutes for a wintery Boston.
The Dog's Domain
If these predictable parts merge into something enjoyable hinges on the execution and an acceptance of cinematic comfort food. Regarding the second aspect, Merv targets a specific viewer – the kind who scroll endlessly for cute animal clips. The film delivers a wealth of scenes focused on the pet. The central draw is the dog, and though it results in some clunky cuts between the pet's "lines" and the actors' responses, the movie succeeds in showing dog beach fun, dog depression, and, ultimately, a tail-wagging resolution.
Where It Wobbles
This level of success does not extend for the interpersonal drama. Its style vacillates between relationship drama, broad humor, predictable love story, and silly gags, not quite landing any one mode. This is not Cox's performance, who is admirably committed the humiliating and funny inherent in the unusual premise. His performance contains a likable self-deprecation that provides a significant portion of the appeal for this ostensibly perfect couple. Anna's portrayer, as is her trademark, injects a distinctive offbeat energy that will either resonate with viewers. Her portrayal can feel a little too aloof, notably when contrasted against Cox's genuine sadness. (It should be noted, the canine performer succeeds in looking despondent – while no a canine thespian of that caliber, he's definitely a very good boy.)
The story strives to provide depth to Anna and Russ's relationship for moments when the dog is absent – which is unfortunate, considering the title character is easily the best part of this cute-aiming movie. Unsurprisingly, it achieves only baseline competence. The catalyst for their separation could have been more nuanced with more screen time and more subtle storytelling. In the end, Merv is gentle and pleasant, meeting all its marks. Creating a movie about dog co-parenting is not terrible – though I wouldn't call it a stroke of genius.
- Merv becomes available on Prime Video on December 10th.
