It is an often-repeated piece of advice among many that sharing custody a canine companion after a breakup is ill-advised. The consensus suggests such setups hinder individuals from healing, create logistical nightmares, fuel disputes, and become annoying for all parties. Apparently, as a development suited to a direct-to-platform film, it can even cause the canine in question to become depressed.
Not to downplay the emotional well-being of dogs – countless people attest to their remarkable empathy. To witness a standout portrayal in pet despair, consider 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 life in two homes. If this concept an entire Christmas romance on such a setup is sustainable seems a questionable prospect.Predictable Foundations
Fairness demands noting, Merv, the work of the writing duo and helmed by playwright Jessica Swale, doesn't pretend to be deeper than its premise. We have here a seasonal offering from a major tech-and-media conglomerate – the ambitions remains surface-level. The narrative proves to be simple and direct: a separated couple Russ (Charlie Cox) and Anna (Zooey Deschanel), forced to acknowledge that their post-breakup gloom is surpassed by their dog's, decide on a cheer-up vacation to a canine-centric retreat. There, inevitably, they will presumably realize the idea that they belong with each other. Side characters – featuring Chris Redd, Jasmine Mathews, and others – fulfill roles quirky, thinly written, or broadly comic. Visually has the quality of a branded content, with a wintry atmosphere that is visibly contrived – think flurries piled on green trees as a warm climate substitutes for a wintery Boston.
Where the Film Shines
If these familiar elements coalesce into a pleasant experience rests upon the execution and one's taste for comfort viewing. On the latter point, Merv hones in on a demographic – individuals who browse regularly for pet content. It provides a series of canine-centric sequences. The main attraction is the canine star, and while this leads to some clunky cuts between the pet's "lines" and the actors' responses, the movie succeeds in showing walking sequences, dog depression, and, in the end, a tail-wagging resolution.
The Human Element
This level of success is not earned for the human side of the story. The film's approach wavers between emotional depth, wacky comedy, predictable love story, and physical comedy, never fully committing to any one mode. The fault lies not with Cox's performance, who is admirably committed the absurd and awkward inherent in the bizarre setting. Cox exhibits a charming humility that offers a significant portion of the appeal for this ostensibly perfect couple. Zooey Deschanel, true to her usual style, imparts a distinctive offbeat energy that will click for some but not others. Her Anna seems a touch too detached, particularly when paired with Cox's heartfelt sincerity. (It should be noted, the canine performer succeeds in acting depressed – while no the award-winner from Anatomy of a Fall, he is still a very good boy.)
Merv tries to give weight to Anna and Russ's relationship for scenes without their pet – a bit of a pity, considering Merv is easily the most adorable aspect of this cute-aiming movie. As one might predict, it meets the bare minimum. The cause for their separation might seem more nuanced with greater exploration and less blunt explanation. Ultimately, Merv is light and sugary, meeting every expected note. Creating a movie with this canine conflict isn't a bad idea – though it's hardly a stroke of genius.
- Merv premieres on Prime Video this December.
